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S T A T I 

E I Y 

VO LUM E 10 




MBS Grows Up 

By Ellen G.K. Rubin 
Scarsdale, New York 

Our fourth Conference in eight years - it's no surprise 
that we are growing up. From the quiet conversations at 
our opening reception in Milwaukee's Wyndham Hotel to 
the in-depth subjects of our lecture topics, we are showing 
signs of maturation. Is it the effects of 9/1 1 or are we 
settling down in general? A bit of both, I think. 

Since the last 
conference, the squeals of 
delight at rekindling old 
acquaintances had 
morphed into fervent hugs, 
handshakes, and private 
tete a tetes of friends 
playing "catch up." While 
newcomers, and there were 
many, were warmly 
welcomed, the Movable 
Book Society had now 
become an extended family 
flung across the world. We 
were honored to have the 
Grand Master, Waldo Hunt, holding court (near the 
delicious food buffet) and admirers playing musical chairs, 
dropping into seats to catch pearls of wisdom and bask in 
the light of our "Progenitor." We missed Wally at the last 
meeting when he was awarded the Lifetime Achievement 

The gears of the Conference, held September 19-21, 
2002, meshed more smoothly than ever. Experience 
counts! At the 2000 Conference in New York City, Steve 
Horvath had suggested to Ann Montanaro that 
Milwaukee's William F. Eisner Museum of Advertising 
and Design host our next convention. This immediately 
provided a destination and a supporter of almost half our 
events. (Ann was visibly calmer these past two years.) The 
Museum would mount an exhibit of pop-up advertising to 
coincide with the Conference. We were catapulted out of 
the child-like fantasy world of our magical books into the 
real world where pop-ups are used to sell stuff. 

Wally Hunt 

Hildegard Krahe - 
"Mrs. Meggendorfer" 

By Theo Gielen 
The Netherlands 

In one of the most idyllic parts of Bavaria, the scenery so 
well known from The Sound of Music, I had an opportunity 
this summer to meet and interview Mrs. Hildegard Krahe, 
the well-known connoisseur of the works Lothar 
Meggendorfer, the ultimate maker of movable books. Since 
the death of her beloved husband Peter in 2000, she has 
lived in a newly-built luxurous apartment residence 
constructed in the typical Bavarian style with large wooden 
balconies overgrown with colorful blooming flowers. 
Though she told me the village of Bayerisch Gmain is 
situated halfway to the mountains and catches the breezes 
from one of three neighboring valleys, this day in June was 
very hot, with no refreshing wind at all. 

Since she doesn't like to be questioned about her personal 
life, it took me several telephone calls before she agreed to 
an interview. Traveling from the city of Salzburg in Austria 
in the direction of the German Bad Reichenhall, the 
romantic city where for centuries the world's rich and 
famous took advantage of the waters, I worried if Mrs. 
Krahe, who had celebrated her 80 th birthday just two weeks 

before, would feel 
fit enough for my 
visit. I planned to 
leave after a short 
stay. But I 
underestimated my 
hostess! After a 
whole day of talking 
about her life, her 
activities, her 
research in the field 
of movable books 
and so much more, 
I had to leave 
because she had an 
appointment to go into the theater with a friend that 
evening? I am far from 80, but I was very tired when I 
traveled to Munich that evening. 

Mrs. Hildegard Krahe 

Continued on page 2 

Continued on page 18 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 1 1654, New Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is February 15. 

MBS Grows Up, continued from page 1 

The reception also offered the opportunity for attendees 
to see the vetted books up for the Meggendorfer Prize, a 
change from the last conference. It was felt that since the 
prize should go to the very best of movable books, the 
selection could not be limited to those which had the 
largest printings and, therefore, were the most available to 
members. What about an unseen small gem or a foreign 
book? (Members take note! Jot down your proposed books 
acquired over the next 2 years.) Hence, vet the books and 
have them perused at the conference. Also, it was 
reasoned, we are not the pop-up book society but the 
Movable Book Society. If a successful book is the melding 
of illustrations, story, and movables, of any kind, members 
should consider books which have more than just pop-ups. 
Therefore, the vetted books included all kinds of movables 
and were examined and voted on by the attendees. 

Members wandered in all evening, some still with the 
"white knuckles" garnered from turbulent flights from the 
east coast. The presence of Paul O. Zelinsky, the Caldecott 
winner for Rapunzel - 1998 (Honors- //a/we/ & Gretel '85, 
Rumpelstiltskin '87, Swamp Angel '95), sent a ripple 
through the group. Knowing Ann had Kees Moerbeek's 
limited edition Rumpelstiltskin in her room to later show 
the Society, I dragged the always shy Paul upstairs. Surely 
a Caldecott Honors for the same fairy tale would make 
him interested in seeing another's rendition. And he was. 
Paul painstakingly inspected the princely wrappers and 
gingerly opened the single elaborate pop-up. He was 
impressed. It triggered a wonderful story. 

When Paul's own Rumpelstiltskin was released, he 
received lots of mail. One letter was from an outraged 
woman who took exception to Paul's depiction of the 
spinning wheel without a treadle. Her letter ranted on and 
on about the omission's effect on children who wouldn't 
see the mechanism by which the wheel worked. Paul 
humbly told us he had researched extensively on spinning 

Kees Moerbeek's Rumpelstiltskin 

wheels and had 
placed his story 
in the mid 
1500s. He 
politely wrote 
the woman that 
the treadle had 
not been 
invented until 

Friday began 
our first full day, 
held at the 
Eisner Museum. While the Museum was within a hearty 
walking distance in the rapidly-being-restored Landmark 
and Historic section of Milwaukee, for some, transportation 
was needed. (Some of us are "longer in the tooth" than 
others.) No problem. Ann donned her invisible chauffeur's 
cap, hopped into the van she'd rented, and shuttled members 
back and forth. (That gal does everything!) We were able to 
see Milwaukee's version of Downtown. (I am a New Yorker 
and this was a Friday. A blind man wouldn't need help 
crossing the wide streets!) The van's route took one of the 
numerous bridges giving us a glimpse of the river. 
Milwaukee is cross-hatched with small bridges making for 
a walkable and beautiful city, free of graffiti. 

Roy Dicks, now seasoned in his role as program 
coordinator, began with the video portion of the day's 
schedule. These included: The Movable Book Society on the 
Martha Stewart Show (with Robert Sabuda and Ellen G.K. 
Rubin), Pam Pease on her local news for her book, The 
Garden Is Open, Robert's ABC Disney being hand- 
assembled in Ecuador, and Kees Moerbeek's construction of 
his The Diary of Hansel and Gretel. In a way, these last two 
presaged the direction the Conference would take, namely, 
the Society's interest in how our precious books are actually 
conceived and made. Due to technical difficulties, and there 
were many, only the German version of Moerbeek's 
presentation was working. Nonetheless, the animated 
pictures, with lively music, were more than sufficient to see 
into the mind of the creator and witness the project from 

start to finish. 

The first 
lecture, "Big 
Hair and Glue 
Tabs," was by 
the somewhat 
reluctant, Linda 

Linda Costello with her pop-up rabbit 

Continued on 
page 12 

Building a Pop-up Book 

By Chuck Fischer 
New York, New York 

Building a pop-up book 
is filled with many of the 
same pleasures and 
challenges as building one's 
own home. First one 
searches for the perfect 
setting to build your house 
(the publisher, Charles 
Miers at Universe). Then 
you review other designs 
that you like and start 
dreaming and sketching your new home (wish lists and 
research). You then edit your list of ideas to a workable 
size (for Great American Houses and Gardens it was 
choosing which eight houses and gardens to include). You 
then choose how many rooms and square feet the house 
will have (budget and space available). Next you connect 
with and start working with the most creative architect 
and contractor (David Hawcock, paper engineer). 
Visualize each room and its functions and draw up a set of 
plans to use while building the house (sketch of each pop- 
up spread) Start building (make a white paper dummy). 
Put in the finishing details (illustrating the final art). 
Moving day, boxes, boxes, boxes (ship the book to stores - 
boxes, boxes, boxes). Arrange furniture (placement of the 
book in stores) Invite friends and family to the open house 
(book party!). Celebrate a job well done, and like most 
other architects and designers, you start planning the next 
project and the next. 

Two years ago I put together a book proposal featuring 
water color room renderings of mural projects I have been 
painting for many years in some of the finest houses 
throughout America. My literary agent, Brian McCafferty 
of Lionize Inc. sent the proposal out to a number of 
publishers and Charles Miers, the publisher of 
Rizzoli/Universe really liked my painting, but not 
necessarily the idea behind my proposal. Charles visited 
my studio in Manhattan and I was able to show him many 
more aspects of my work including my fabric, wallpaper 
(Schumacher) and china (Lenox) and fine paper products 
(Caspari) designs. He asked if I had ever considered doing 
a pop-up book for grown-ups. I had recently seen the New 
York Pop-up Book and had previously bought the packs on 
art and architecture. Since my passion is painted 
architectural and interior design I immediately thought 
about creating a book of houses and gardens. In the past 
I had toured some American houses, but most of my house 
touring had been in Europe. Being especially proud to be 
an American designer, I wanted to rediscover American 
houses and gardens for myself and share the experience 
with others through a pop-up book. 

Universe liked the proposal featuring American houses 
and gardens and put me in contact with the paper engineer 
David Hawcock. I went to Bath, England where he is located 
and I showed him very rough sketches. Then I visited all of 
the houses and gardens in the book. For the next year I 
worked with David, Ellen Cohen, editor at Rizzoli, and 
Stacy Yule, editorial assistant. I worked non-stop for many, 
many months to meet production deadlines. Upon 
completing the artwork and compiling all the photographs 
and historical information for the text, David started 
working closely with the printer and I started work on my 
second book published by Universe titled Wallcoverings 
Applying the Language of Color and Pattern. Though it is 
not a pop-up book, the book is a visual treat and filled with 
hundreds of samples of wallpapers and lively room 
renderings I created, using wallpaper as the medium. 

I loved creating Great American Houses and Gardens: A 
Pop-up Book (Universe Books. ISBN: 078-930-798-7) and 
I look forward to creating more pop-up books in the future. 

Popping Off the Page 
The Art and Magic of Movable Books 

Books alive! That Page is Moving! 

For centuries, books that 

slip, slide, jump, and tumble off the 

page have found happy readers of all ages 

around the world. 

Welcome to the magical 
kingdom of pop-up books! 

January 17 - May 30, 2003 

From the collection of Betty Ann Tranganza 

Presented by 

Art at the Airport 

Monterey, California 

Books and Buildings 

By Laura Davidson 
Boston, Massachusetts 

As a young artist, fresh out of art school, I went to 
Europe for the first time. I was enamored with everything 
I encountered, but most of all by the architecture, 
especially the cathedrals. Upon returning to my studio in 
Boston, I was compelled to create "book buildings." 

My goal was to return to Italy 
and travel around the country 
finding buildings to study, learn 
the floor plans, draw the details, 
and submerge myself in their art 
history. Back in Boston, I would 
then use these drawings as 
references for a series of books 
that when opened, would 
become specific buildings. The 
front covers would be made to 
look like the building facades. 
The pages would be the walls, 
and details of the buildings 
would pop up or fold out when 

made of exotic woods. The pages are linoleum and transfer 
prints. The following is a page that opens with a pop-up 
print of the Pavia Cathedral model. 

Giotto's Campanile 

the book opened. 

In order to fund this trip, I wrote to everyone I knew, 
and told them of my plans. I asked for contributions to 
finance this adventure. In return, contributors would each 
receive a drawing of a building that I would produce 
during my travels. The plan was an unexpected success; 
not only did it fund several 
months of traveling in Italy, it 
also paid for my studio rent for 
two months after I returned, 
while I created the books. This 
is an example of one of the 
book buildings from the 1989 
series called Giotto's 
Campanile. It portrays the bell 
tower that stands next to the 
Duomo in Florence. 

Giotto's Campanile 

Since that time I have 
worked with the idea of 
showing architecture three- 
dimensionally in my books in 
various ways. In 1995, the 
National Gallery had an 

exhibition called "Italian Renaissance Architecture" 
which brought together large-scale models and 
preparatory drawings from three Renaissance building 
projects. After seeing this inspiring exhibition, I created 
a limited edition book called Facade. The cover of the 
book is painted wood, which depicts a building facade 

I live in an old industrial warehouse in Boston that has 
been converted into an artist cooperative of live-work 
studios. Our building was highly impacted by the Central 
Artery/Tunnel Project, or the "Big Dig," this country's 
largest public works project. For the past five or six years we 
have had nothing but cranes, dust and noise outside of our 
windows. The streets and alleys have been dug up on all four 
sides of our building. Though it was often a nightmare to 
live through, it was also sometimes visually interesting. At 
a moment in time when I found the view compelling, I 
created an edition called Tunnel Vision. It is the 1999 view 
of the Big Dig from my studio window. 

While my 
neighborhood has been 
changing with the 
presence of the Big Dig, 
and more currently 
through redevelopment, 
I have been looking at 
maps. An early 
Abraham Ortelius atlas 
has been of great interest 

to me. During 2002, 1 created an edition called Mapping My 

World -Buildings and Bridges. This book is an atlas of the 

three significant places in my life - Boston, Sugar Island in 

northern Michigan where I spend part of my summer each 

year, and Florence. In each of the three sections in the book, 

there are pop-up bridges and buildings. The book starts out 

with world map end 

pages, and then with 

each page the maps 

become more and more 

specific. For example, 

there is a map of I 

Michigan on one page. 

On the next page, a 

map details 

Michigan's Upper and 

Lower peninsulas, with 

a pop-up Mackinac 

Bridge connecting the two. The next page is a map of Sugar 

Tunnel Vision 

Mackinac Bridge 


Island off the coast of Sault Ste. Marie, and the following 
page shows a map of my parent's property on the island 
with a pop-up cabin. 

In much of my work, 
I investigate the 
experience of a specific 
place at a specific point 
in time. By using pop- 
up elements in my 
books, I am able to 
express the appreciation 
that I have for 
architecture and more 
recently, for bridges and other engineering projects. Pop- 
up structures are unexpected and can create a magical 
moment as the viewer turns the page. 

15 Questions with Robert and Matthew 

By Adie Pena 

Makati City, the Philippines 

In September 2000, I 
had the opportunity to 
observe Robert Sabuda and 
Matthew Reinhart in their 
New York studios creating 
mock-ups for a forth- 
coming series of books on 
insects. A year later, the 
eye-poppingly educational 
two-volume "'Young 
Naturalist Pop-up Handbook" featuring beetles and 
butterflies finally hit bookstore shelves. Early this year, I 
asked Robert and Matthew if they were amenable to an 
e-nterview and they obligingly provided the following 

1 . Why Beetles and Butterflies'! Why not birds and fish or 

"We've always loved those wood and glass dioramas with 
insects or skulls or whatever in them. Matthew has an 
undergraduate degree in biology (with an intense interest 
in insects) so we thought, hey, these might make beautiful 
pop-up books. Plus there's the bonus of creating a 
non-fiction book that a teacher can use in class." 

2. Are Beetles and Butterflies the first two volumes of a 
series or is that it? 

"We're currently discussing the next two titles 
(dragonflies and spiders) with Disney. In the meantime 
Matthew has created a companion picture book titled 
Young Naturalist 's Insect-lo-pedia. It's a complete guide 

Robert Sabuda and 
Matthew Reinhart 

to the insect world for bug fans and will be published in 
Spring 2003." 

3. Who [Robert or Matthew] did what [paper engineering, 
art, research, text, etc.] for Beetles and Butterflies'? 

"Matthew wrote the manuscript and created the illustrations 
while Robert designed the pop-ups but at times the roles 

4. What upcoming pop-up publications are you currently 
working on, individually? 

"Matthew is developing a biblical version of Noah 's Ark and 
Robert is beginning work on Alice in Wonderland." 

5. For Robert: Will your "white mouse" have more 
adventures? Or has he "retired?" 

"The white mouse (with family) returns this fall in The 
Night Before Christmas.'''' 

6. The second line of the poem reads: "Not a creature was 
stirring, not even a mouse." So how did you manage to 
squeeze in your white mouse? *grin* Or do I have to wait 
for the book to find out? 

"Sometimes punctuation at the end of a single sentence can 
change the sentence's entire meaning. A question mark 
makes you think twice about your preconceived notions. 
Hint, hint!" 

7. By the way, is it just me or is there really a dearth of 
pop-up collectibles lately? 

"Yes there is. A lack of new ideas and/or vision has left the 
industry with fewer titles. The publishing industry moans 
and complains about the high cost of making pop-ups, etc. 
etc. but a lot of that is nonsense. People will buy a good 
pop-up book no matter what the cost. If it's lousy they won't. 
And people's tastes are also much more sophisticated now." 

8. What's the future of three-dimensional book publishing? 
"It will always be here as long new, 
intriguing books are created." 

9. Your upcoming pop-up 
publications [Matthew's "biblical 
version of Noah 's Ark" and your 
Alice in Wonderland and The Night 
Before Christmas] are based on 
classics. How do you handle a 
tried-and-tested subject matter, 
knowing it's been done a million 
times before? What approach (or angle) do you take to 
ensure that your remake-of-a-remake-of-a-remake will be 

"exciting and intriguing." 

"I try to make the audience feel like they're experiencing 
something more than just a book that happens to have 
pop-ups or movables tacked on. I truly want my books, 
even if they are based on classics, to be an interactive 
journey for the reader that they'll never forget." 

10. Are there any new pop-up book artists/publishing 
houses worth watching? 

"Surprisingly many houses that have never published 
pop-ups before are coming out with maybe one, at the 
most two, books aimed at an adult audience. Hopefully 
this will be a healthy trend." 

11. What are both of you doing to ensure that this will be 
a healthy trend? 

"We continue to propose book ideas that can be 
appreciated by adults. We hope they could be enjoyed by 
all ages but try to avoid limiting our ideas to just young 

12. Could you name a book or two "aimed at a 
sophisticated adult audience" that you'd highly 
recommend to collectors? 

"I think the Pop-up Book of 
Phobias and the Pop-up Book of 
Nightmares are prime examples 
of more sophisticated books for 
adults. And 1 don't mention these 
two just because Matthew did the 
paper engineering. The idea for 
those books came from outside 
the pop-up community. They 
were originated by a comedian 
here in NYC who took us out to 
lunch one day and pitched his concept." 

13. For Matthew: Are phobias and nightmares part of a 
trilogy, or that's it? 

"It depends on how twisted society continues to be." 

14. How about neuroses? It's very New York and so 
Woody Allen. "Neuroses? Why not? Readers seem to love 
examining the darker sides of their lives even if it makes 
them uncomfortable." 

15. Any more collaborations in the near future? 

"As they say on "The X Files," we can neither confirm nor 
deny future collaborations!" 


A Review of the Exhibition 

at the Los Angeles Central Library 

By Peter Price 

Los Angeles, California 

You know that kid-in-the-candy-store feeling you get 
when you find yourself in a room full of pop-up books? The 
"Pop-Up!" exhibition running until January 12, 2003 at the 
Los Angeles Central Library has it times ten, or maybe a 
hundred. The urge to leap about clicking your heels and 
laughing hysterically is almost irresistible. 

But the impulse to run free is quickly tempered by the 
exhibition's clear chronological structure, which encourages 
even the most haphazard visitor to go back and start at the 
beginning. It's well thought out and organized. A lot of 
consideration has been given to detailing 500 years of 
movable book history. Half a millennium. Amazing. The 
captions and display panels are clear, informative and easy 
to follow. And, judging from the reactions of visitors who 
were obviously new to the world of pop-ups, it made some 
converts to a noble cause. 

That's the briefest summary of a complex, well- 
considered exhibition deserving as much time and space as 
we can spare. So here is the detailed account of what I 
discovered, in approximate order of discovery. 

I didn't get to the exhibition until nearly two months 
after it opened and have so far visited it twice. The casual 
downtown passer-by wouldn't know anything was 
happening. On approaching the Library's main entrance I 
saw no hint that the show was on. Not a good start. Later I 
discovered a banner hung a football field's length away on 
the furthest corner from the entrance. But it's a big banner, 
faces the busiest street, and is in fact the only temporary 
signage of any kind on the entire building. None of the other 
ongoing shows had anything hanging out. So I didn't 

Once inside, I 

realized that there are 

actually two pop-up 

shows. As well as 

"Pop-Up!" there is 

also "Leaping Off the 

Page." This needs to 

be mentioned because 

it's obviously linked, 

via Waldo Hunt and 

several artists, with the 

bigger show, although 

the graphics for the signage are different and neither refers 

to the other. That seems odd and perhaps unnecessarily 

confusing for non-pop-up types. 

Continued on page 24 

Wally Hunt and David Carter 

My Three Favorites 

By Henk Sikkema 
Assen, The Netherlands 

On my latest renewal form I made the suggestion of 
having collectors write about their top three favorite pop- 
up books. Mrs. Montanaro thought it a good idea and she 
asked me if I would be the first to write. "Of course I 
will," I answered Mrs. Montanaro. 

And that's easier said than done. How to choose your 
three favorite pop-up books out of a collection of more 
than 1,200 copies? I love them all! I love my (few) 
Kubasta's. I love my Asschepoester- Dutch for Cinderella 
- from the 1890s. I admire all Ron van der Meer's packs, 
especially The Architecture Pack (1997), because modern 
architecture is another passion of mine. That's why I 
cherish Das Berlin-Paket (2001), Frank Lloyd Wright in 
Pop-up (2002) and the spread of the skyline of San 
Francisco in my copy of Time (September 8, 1986). I like 
the books made by Kees Moerbeek and Carla Dijs (they 
almost live next door to me!) and of course those by 
Robert Sabuda. Did you see his latest title The Night 
Before Christmas'! More beautiful and more ingenious 
paper engineering is not possible. I love Chuck Murphy's 
titles, the humorous books of Jonathan Allen, the so called 
''Seven" series by Celia King and The Pop-up Book of 
Phobias (1999) and The Pop-up Book of Nightmares 
(2001) by Matthew Reinhart. 

I'm proud of my copy of 
Christmas Kingdom ( 1 99 1 ) by 
Jan Pierikowski (with a 
miniature book containing the 
words of twelve Christmas 
carols and an audio cassette 
of the same carols sung by the 
famous King's College Choir) 
and proud I am of my copies 
of The Beatles Story (1985) 
and The Elvis Story (1985) as 
well. In August (!) 1994 on 
holiday in France I bought La 
Creche de Noel ( 1 98 1 ), the French version of The Nativity 
by Borje Svensson. Also one of my favorites. 

I love Rives' If I were a polar bear (200 1 ), Circus : A 
Pop-up Adventure (1998) by Meg Davenport and that 
sweet title I bought this year in France: Barnabe, le Chien 
qui ne Sourit Jamais (2001) by Jennifer B. Lawrence and 
fantastically illustrated by Timothy Basil Ering (I don't 
know the English title). The catalogue of the 1996 
exhibition of pop-up books Pop-up: Het Boek in Beweging 
in the Dutch town of Haarlem by Rene Stikkelorum: let it 
be my number 5; the pop-up hospital scene my son made 

for me in 1991 when I had an operation for a hernia there, 
my number 4. 

So now, "Here are the results of . . . !" But first, why did 
I choose these? Well, because for me these titles have 
just a little, little bit 














more or mean 
something special to 
me. I'll tell you: 
Number 3: Haunted 
House by Jan 
Pierikowski (1979). 
I gave this classical 
pop-up book (the 
Dutch version Het 
Spookhuis) to my 
son in 1981 for his 

6 th birthday. All the years through he treated the book very 
carefully: it became the start of my collection. And I still 
love it. Number 2: Ben's Box by Michael Foreman, David 
Pelham and David Carter (1986). I love this book for its 

wonderful pop-ups but 
also because it's one of 
the rare pop-up books 
with an important role 
for the story. Read 
about Ben's magical 
mystery tour in the box 
of his mother's 
washing machine! 
That's why the French 
title is Le Carton 
Magique. Number 1 : 
The Flight of the Pterosaurs by Keith Moseley (1986). No 
doubt my first choice had to be a title by Keith Moseley. I 
love Hiawatha (1988,), Flight: Great Planes of the Century 
(1985) of course and the paper engineering in Tomie de 
Paola's titles Giorgio 's village (1982) and The first 
Christmas (1984). I enjoy all those beautiful illustrations and 
charming pop-ups. And I enjoy them in The Flight of the 
Pterosaurs, too. But never in a pop-up book have I read such 
a beautiful, poetical text as in the epilogue of this book. 
Open it to the last pages - no pop-up! - look at the pterosaur 
"gliding silently homeward" and read with me: "And when 
on a dying breeze of an evening 60 million years ago, the 
last of these great creatures glided silently homeward for the 
very last time, none would record the passing or cheer that 
final flight. For there would be no tomorrows for this gentle 
giant, no more would those great wings be spread to the 
warmth of an early morning sun or its call echo across the 
ancient sea ..." Put these words on my grave. 

I would like to invite Mrs. Carolyn Lilly (visit her nice 
and informative website 
to write about her favorite three pop-up books! 

Anton Radevsky 

By Theo Gielen 
The Netherlands 

Ahtoh PaAeecKi 

1504 C0<Dl/1fl 

Above is the letterhead received on a letter from Anton 
Radevsky, Graphic Design, 1504 Sofia. He is the 
Bulgarian paper engineer whose The Pop-up Book of 
Spacecraft was published in 2000 in ten different 
(European) languages by the respected publishing house 
of Konemann from Cologne, Germany. Two years before 
Graham Brown from the packaging firm of Brown Wells 
& Jacobs (BWJ) had shown me a wonderful dummy of a 
book that he tried to sell to interested publishers that was 
done by this same Mr. Radevsky: The Wonders of 
Architecture. But neither Mr. Brown nor the people of 
Konemann could tell me more about this new paper 

Last year at the 
Frankfurt Book Fair I 
saw a Bulgarian 
publisher with some 
intriguing dummies of 
pop-up books by the 
same man, and I decided 
to contact him for some 
more information about 
him and his works as a 
paper engineer since he 
comes from a country 
that never had produced 
any movable or pop-up 
books before. Through 
correspondence with him 
I received the information to write this first profile of the 
man who got almost the highest possible score for his first 
published pop-up book in Robert Sabuda's esteemed 
reviews of new pop-up books in the Movable Stationery, 
August 2000. 

Anton Radevsky was born in 1 95 1 in Bulgaria's capital 
Sofia into an artistic family. His father was a writer and 
poet and nationally known for his translations of works 
from Russian. Though the phenomenon of pop-up books 
was (and is) almost fully unknown in Bulgaria, there were 
in the 1960s - at least in the capital Sofia - some Russian 
3-D books and the well-known works of the Czech 
Vojtech Kubasta were available and popular. As a 


schoolboy little Anton liked and collected them and, in his 
words: "I used to destroy them to see how they worked." 

After high school, in 1971, he left Sofia and went to the 
capital of an other socialist country, the German Democratic 
Republic, to be educated as a graphic designer at the 
Academy of Arts in Berlin- Weissensee, renowned for this 
speciality. He remembers the six years there as a great time. 
As his graduation paper he chose to design a movable 
children's book though his teachers hesitated since they 
didn't think such a book could show his graphic abilities. He 
insisted. He did some research on the subject by studying 
German movable and pop-up books from the 1920s and 
1930s and was happy to get support from a commission of 
the children's publishers of Verlag Junge Welt who wanted 
to publish the book. He designed a children's reference book 
on cars with movable parts and pop-up elements. 
Unfortunately the book has never been published since the 
publisher had insuperable problems with the production of 
such a complicated book and within the socialist economical 
system a production abroad (in the capitalist world) there 
was no option. In 1977 he returned to Bulgaria and started 
to work as a graphic designer. But his love for pop-up books 
didn't flag. He built an exquisite personal collection of 
western production pop-up highlights from the 1980s, 
brought from abroad by his friends. And he continued to 
design his own pop-ups. It took until 1988 for a publisher to 
get the idea to produce books "in the style of Kubasta." 
Anton Radevsky was known to the publisher, since he had 
done a series of children's construction sheets (to build 
paper models) for them, he appeared to be the only man in 
the country who was capable of doing the pop-ups. 

Again there was the production problem. But this time 
the good relationship with the printing company offered 
Radevsky the opportunity 
to set up an own 
assembly line within the 
company. He instructed 
the bookbinders, the 
clerical staff even the 
warehouse men how to 
fold the paper artwork 
and to glue the pieces on 
the right places, and 
together they succeeded 
in bringing out two pop- 
up books in 1989: 
Konzert and Doktor 
published by the Sofia 
based company of 
Otecsestvo. Both books 

measure 22 xl5 cm., have four spreads with rather simple 
fan-folded pop-ups and some movable parts, much in the 
tradition of Kubasta. Only the graphic design differs 
completely and recalls the best of the experimental Russian 


children's books from the 1920s when constructivist 
artists like Lebedev and Konaschevitsch were involved in 
the design of children's books. Mr. Radevsky has a small 
collection of these 1920s children's books, inherited from 
his father who did translations of some of them before the 
war. Most special to Radevsky, however, are the two books 
for which his father did the rhyming texts. 

While working with the printing company he met 
another Bulgarian man, Emil Markov, who offered his 
graduation project to the same publisher. Markov designed 
two unconventional playbooks with pop-up elements, The 
house of Oranges and Struggles of the Knights which 
were published about the same time. The designers 
became best friends. 

Encouraged by the success of having published his first 
pop-up books, Radevsky continued to work on the design 
of the more complicated techniques in his book about cars. 
But since fall of the Berlin Wall and as a consequence the 
socialist system in all socialist countries in Eastern Europe 
broke down, there began a hard economic period for 
Bulgaria. There was no longer an interest in such 
frivolities as pop-up books. When some young friends of 
his started their own publishing company in the early 
1990s, Radevsky did a one spread pop-up Christmas 
Stable to support them. Because of a wrong choice of 
paper for the pop-up scene, the publication was a 
commercial failure for both the book and the company. 

Then he met his current publisher Dimitar Zlatarev of 
Kibea Publishing who brought Radevsky' s A utomobile: A 
Pop-Up Book to the attention of the people of Compass 
Productions at the 1994 Bologna Children's Book Fair. 
Although Compass finally gave up their plan to produce 
the book, the '\vestern" interest in his works encouraged 
Radevsky to once more continue his work in paper 

A summit of 
his career, for the 
time being, came 
when Konemann 
accepted his Pop- 
up Book of 
Spacecraft and 
more, to do it 
simultaneously in 
ten (European) 
languages. A 
wonderful book 
for space-lovers of 
all ages, done in 
realistic almost 
paintings with 

La Ciudad del Saber 

"only" four spreads, but the ingenious use of flaps, half 
pages, gatefolds, etc. It gives the impression that there are a 
lot more spreads. Very complex paper engineering is offered 
in the ten multi-piece pop-ups, four flap/tab mechanisms, 
four flaps and three removable space vehicles. A novelty has 
been built in the second spread where an extra table-land is 
hidden behind the spread. It has to be shoved out from 
behind and folded forward rectangularly to form the surface 
of the moon where the various moon vehicles stand. Because 
of the number and ingenuity of the three-dimensional 
elements, the book is surely a contender for the 
Meggendorfer Prize. The production of this book offered 
him the opportunity to visit what he calls "The kingdom of 
the pop-up books," the printing and assembling premises of 
Carvajal in Columbia. 



Before the Spacecraft 
came on the market - it took 
Konemann quite some time 
since the company didn 't have 
any experience with the 
production of this kind of 
book - there was another 
production that involved Mr. 
Radevsky. His friend Emil 
Markov lived for a couple of 
years in Spain in the late 
1990s and he was 
commissioned to do a book to 
celebrate the 500 111 anniversary of Alcala University in 
Madrid. He planned a pop-up book but since the time to do 
the book was restricted, he asked Radevsky to help him. 
Markov did the design and the artwork, Radevsky did the 
complete paper engineering. The result was a beautiful pop- 
up book La Ciudad del Saber (ISBN 84-8138-371-6) 
showing on seven spreads the most remarkable episodes 
from the history of Alcala University. The good contacts 
Radevsky made with Carvajal resulted in the short term 
production there. 

In the last couple of years Mr. Radevsky has been busy 
refining the dummies of The Wonders of Architecture and 
Automobile: A Pop-Up Book. I have sounded my praises for 
these dummies a several times already in my annual reports 
of the Frankfurt Book Fair published in Movable Stationery, 
so I don't have to do it once more. Unfortunately, the design 
of his The History of Weapons: The Pop-Up Book, praised 
by me for its original subject, has not attracted a publisher. 
They think it is too controversial and encourage a 
remodeling of the book into one on historical fights or 
battles...! Being responsible himself for the texts, the 
illustrations, the design and the paper engineering of his 
books, shows once more the multi-talents of Anton 
Radevsky. And since he met James Diaz and David 
Hawcock at last year's Bologna Children's Book Fair, he no 
longer feels as isolated as a Bulgarian paper engineer. 

The 20 th Century Revival of 
Overlay Illustration 

By Ronald K. Smeltzer 
Princeton, New Jersey 

What are often called movable books '• 2 - 3 * contain 
elements in a variety of forms that revolve, pop-up, flip, 
lift-up, or fold-out. The pop-up is the most well known 
type of movable book, as they have been made in large 
numbers for children over many years. There is, as well, 
an active society 5 for pop-ups. The pop-up is often 
considered in a category by itself, because it is the only 
type of movable book for which action occurs as a result 
of just opening the book. Other types of movable books 
require some other action on the part of the viewer after 
the book is opened. The interest in pop-ups in particular 
has inspired numerous publications on the subject of 
paper engineering 6 and a very recent publication 7 
considers pop-ups and peepshows in the context of paper 
engineering. Although the vast majority of movable books 
have been published for children, books with overlays 
were produced for technical education, and thus may be of 
interest to some collectors of technical books. 

Overlay illustrations are employed to show in-depth 
cross-sectional views of objects, animals, body parts, etc. 
by means of attached layers that are lifted in sequence to 
reveal hidden details. The individual layers are attached 
with small glued tabs to either a lower layer or the base 
layer of the illustration. A good overview with many 
(static) illustrations on the subject of 20* century overlay 
illustration is provided in an unusual diary-calendar 8 
published for 1997. For those interested to see a 
demonstration of a lift-up overlay, there is a web site ' 
with a rather bold example. 

For the collector of technical books, those with 
overlays are appealing because there was a major revival 
of this illustration method in color for technical - and 
anatomical - publications near the beginning of the 20 th 
century, and consequently it is still possible to find 
examples in the book trade. Prior to the modern era, lift- 
up overlay illustrations are well known in anatomical 
treatises from as early as the 16 th century l0 . About 1800 in 
England appeared the "red books" with overlays by H. 
Repton, the landscape designer; these however were 
unique productions done as part of a sales pitch for 
Repton's services and only involved one level of overlay 
above the illustrated scenes. In the modern era, 
publications illustrated with overlays appeared in the early 
part of the 20* century usually as multi-volume sets from 
France, Germany, and England. In some sets the overlays 
are in a separate atlas volume and in other cases they are 
interspersed within the text. Oldewarris 8 mentions a few 
Dutch publications, which however do not seem to be 
common, as I have never seen one in the marketplace. 

Little is apparently known about the history of the c. 1900 
revival of overlay illustration, and, for example, the records 
of the major French publisher, Aristide Quillet, were lost 
during World War II 8 . It is evident that the production of 
the overlays was often done by someone other than the 
publisher of the books. In the case of the two major English 
publications from 1908 and 1911, for example, the plates are 
labeled "printed in Bavaria"and Oldewarris 'points out that 
most of the overlays found in the archives of the Dutch 
publisher Kluwer were made in Germany. Bavaria was the 
center of production for many types of movable books for 
children in the 19* century, so paper engineering was a 
skilled art there. Based upon what I have seen in the 
marketplace over the last five or so years, production of 
books illustrated with overlays persisted in France until at 
least 1939, but very likely ended earlier in other countries. 

One wonders if the appearance of the publications with 
overlays was driven by the growing art of paper engineering 
or by content. Since movable books for children were 
produced in large numbers in the 19* century, the 
technology of paper engineering was well developed by the 
early 20* century. Hans Oldewarris 8 is inclined to believe 
that the rise of new and complex inventions in the late 19* 
century was at least in part key to the popularity of these 
overlay illustrations. Major subjects of the books with 
overlays include transportation, engines, machinery, 
electrical equipment, and all manner of anatomical subjects. 
In the case of the engineering publications with which I am 
familiar, most were serious works for students, engineers, 
and technicians. From France the publications with overlays 
are often in the format of an encyclopedia for reference, but 
still highly technical with, for example, mathematical 
analyses of the subjects illustrated. One French work, Mon 
Professeur, with technical overlays in the collection is an 
"encyclopedic autodidactique" that includes non-technical 
subjects as well. 

Numerous terms are used to describe overlay 
illustrations. "Superimposed plates" is probably another 
good English phrase to use. In German the more common 
terms are "zerlegbare Modellen" and "Klappmodellen." 
French terms include "planches superposables," and 
"demontables." A Dutch bookseller 9 has proposed the 
general term "clastic" from the Greek klastos, interpreted to 
mean broken or separable into parts. 

Publications with overlay illustrations from roughly the 
first third of the 20* century can be found from web searches 
of French and German booksellers. However, finding copies 
in "collector's condition" is another matter. German 
booksellers often have only the atlas volume of a set, the text 
presumably having been discarded as out-of-date. Not 
surprisingly, the fragile nature of the overlays means that 
many will not be in perfect condition. One can imagine that 
when the text volumes of a set were discarded the atlas 


volume ended up in the hands of a child. French 
publications seem to be the easiest to find complete and in 
good condition. As the French publications are mostly by 
one publisher who seems to have often recycled the same 
illustrations under different titles or slightly reorganized 
texts, there is no compelling reason to aim for 
completeness with French publications. Publications with 
overlays from England are significantly more scarce than 
those published in Germany and France. 

As most of the publications with overlays are multi- 
volume sets in large format, determining the condition is 
important before paying the substantial shipping charges 
if one is purchasing from Europe. And as a return is 
likewise expensive, I have tended to err on the side of not 
buying when in doubt about the condition. Because of the 
difficulty to find complete and substantially different sets 
in good condition, my collection - but not from want of 
trying - is not large: only ten publications in 3 1 total 
volumes. It includes representative examples published in 
England, France, and Germany during the first three 
decades of the 20* century. For the long term, a collection 
of books from the early 20 th century with movable color 
illustrations is probably a good one to continue - if the 
books can be found. 

This article was first published in the Delaware 
Bibliophiles Endpapers, September 2002, and is reprinted 
with permission. 

1 . Gay Walker, Eccentric Books, Yale University Library, 
Arts of the Book department, January 1988, 62 pages; 
includes a very good reference bibliography as well as a 
checklist of the exhibition; what is called lift-up overlay in 
this article is in the category "flap" along with other types 
of flap movables such as metamorphoses; on the latter, see 
Harry B. Weiss, "Metamorphoses and Harlequinades," 
The American Book Collector, vol. 2, Aug./Sept. 1932, 
pp. 100-1 12 plus six unnumbered leaves of illustrations. 

2. Edwina Evers, "A Historical Survey of Movable 
Books," AB Bookman 's Weekly, August 19-26, 1985, pp. 

3. Peter Haining, Movable Books, London, 1979, New 
English Library. 

4. n.a., Livres Animes 15e-20e Steele, Rouen, 1982, 
Bibliotheque Municipale de Rouen; 79-page exhibition 

5. The Movable Book Society, P. O. Box 1 1654, New 
Brunswick, NJ 08906 and 

//www.rci. html; founder Ann 
R Montanaro's bibliography Pop-up and Movable Books: 
A Bibliography is published by Scarecrow Press. 

6. E.g., Mark Hiner, Paper Engineering for Pop-up Books 
and Cards, Norfolk, 1 985, Tarquin Publications; describes 
ten basic mechanical actions and how to assemble the 
appropriate structures. 

7. Phillida Gili, "Pop-ups, Peepshows & Paper 
Engineering," The Private Library s. 5, vol. 4, no. 1 , Spring 
2001, pp. 11-33. 

8. Superimposed Plates, wire-loop-bound diary-calendar for 
1997 with essay and bibliography by Hans Oldewarris, 
Rotterdam, 1 996, 1 Publ ishers, 62 pages of (non-movable) 
color illustrations interleaved with weekly calendar leaves. 

9. Start at //, web site of L' Art 
Medical, a Dutch bookseller. 

10. Sten G. Lindberg, "Mobiles in Books," The Private 
Library s. 3, vol. 2, no. 2, Summer 1979, pp. 49-81; 

illustrates a few examples. 

"Drehen - Klappen - Ziehen" 

By Theo Gielen 
The Netherlands 

Next year's major European event in the field of 
movable and pop-up books will surely be the exhibition 
"Drehen - Klappen - Ziehen" (Turning wheels - Lifting 
flaps - Pulling tabs) now being prepared in Bietigheim- 
Bissingen, a small historic town about 15 miles north of 
Stuttgart, Germany. The movable, pop-up and novelty books 
from the collection of Mr. and Mrs. Hase from Stuttgart will 
be shown in Hornmoldhaus, the local museum, starting on 
February 23, 2003. 

Working together, the museum's director Mrs. Regina 
Ille-Kopp and Mrs. Inge Hase have produced two 
remarkable exhibitions of historic children's books from the 
Hase collection, the latest one in 2000-2001 being 
"Christmas Time in Picturebooks." Now there will be shown 
for the first time the movable treasures of what appears to be 
Europe's richest private collection. 

Having seen the list of books intended for display I can 
give you a glimpse of what can be expected. There are about 
200 copies of antiquarian books (no reprints will be shown), 
all in very good or better condition, ranging from the very 
beginnings of children's movable and novelty books in the 
early 1800s until about 1950. The greater part consists of 
rare German items but some originate from other European 

A collection of some ten "Gliickwunschkarten" from the 
Regency period (between 1800 and 1830) with all kinds of 
movable techniques as used in the 1 860s for movable books, 
reveal aspects of the earliest history of movables very rarely 
found. The time before 1860 will be illustrated by a French 
paper doll book, an early peepshow, some interesting books 
with pictures that have to be inserted to be complete (one by 
the Austrian author Chimani), very early children's 


leporellos, changing pictures and other paper toys. 

The beginnings of movable books in Germany in the 
1860s are well represented by books like Einhundert 
Bilder / A hundred pictures / Cent Tableaux ( 1 866), 
Kinder Lust in lebendigen Bildern (1863) and an early 
Robinson Crusoe (1869) that is an adaptation of an early 
Dean book, and more others. 

The golden age of Meggendorfer and Nister will be 
shown with the highlights of the many copies that are in 
the collection. Meggendorfer alone will be included with 
some 30 titles and from Mister's production will be shown 
not only the better-known English versions but also the 
rarely seen German editions of his books published by 
Theo Stroefer's Kunstverlag in Nuremberg, later Munich. 
There will be original editions of the fold-outs Die Krippe, 
Grosse Menagerie, Theater Bilderbuch, Zoologischer 
Garten and Allerneuestes Theaterbilderbuch that most of 
us will only know from their 1980s reprints. Also included 
are more than 20 movable books that were part of the first 
Golden Age in the 1880s and 1890s. 

To dispel the 
usual theory that 
there weren't any 
interesting books 
in the period after 
the First World 
War until the 
coming of 
Kubasta at the end 
of the 1950s, the 
exhibit will have 
examples from the 
1920s and 1930s. 
The works include 
works by Else 
Wenz Vietor 
whose very rare 
first edition of the 
Puppenstubenspielbuch illustrated in a great Jugendstil 
style will be shown along a second edition that was 
illustrated in a completely different style, and also in a 
leporello version. Hilde Langen is represented by several 
of her anthroposophic movable books and there are books 
illustrated by Gerta Ries, Josef Mauder, Gertrud Kopp- 
Romhild and Tom Seidmann-Freud. Two out of a series of 
three earliest published carousel books from 1940 will be 
part of the exhibition as will be a good selection of the 
earliest books with "fanfolded" pop-ups, the series 
published as Schreibers Stehaufbilderbucher from 1936 
onwards - before the Jolly Jump-ups copied this simple, 
cheap but effective technique. 


Postcard of the 
Stadtmuseum Hornmoldhaus 

As they typically do with all exhibitions in the 
Hornmoldhaus, the staff has compiled an extensive program 
of accompanying activities. These range from a series of 
(very) short guided tours on Saturday morning when there 
is a market on the square before the museum. They will 
instruct one special category of movable books, through 
instructive guided tours by Mrs. Inge Hase who will show 
some books in action and other pages and techniques from 
the books. There will also be a two-day paper engineering 
workshop in cooperation with the local Art School of Youth. 
Mrs. Hildegard Krahe will lecture, the German paper 
engineer Antje von Stemm will take part, and Mrs. Carola 
Pohlmann from State Library in Berlin will give a slide talk 
on the development of movable books through history and 
some aspects of their restoration. And there will be all kinds 
of educational and recreational activities for children and 
special gatherings for instruction of the teachers. 

Even though you might think you are an expert in the 
subject, I am sure you will be surprised to see so many 
historical movable and novelty books in Bietigheim- 
Bissingen that you didn't before know existed. Plan to visit 
from February 23 until September 7 when the exhibition will 
be closed with a mysterious gathering about "Movable and 
novelty books in a musical way." The full address of the 
museum is: 

Stadtmuseum Hornmoldhaus 

Hauptstrasse 57 

74321 Bietigheim-Bissingen 


The museum is open everyday except Mondays and the 
entrance is free. For more detailed information on the 
program see the website of the museum through the website 
of the city: or contact the 
museum director Mrs. Regina lile-Kopp by e-mail at r.ille- There is a plan to organize 
a special meeting of specialists and collectors of movable 
and pop-up books. 

MBS Grows Up, continued from page 2 

A self-proclaimed ""popupaholic" but an architect by 
training, Linda relishes having given up teaching such 
topics as, "Earthquake Design in Hi-Rise Buildings." 'Top- 
ups are more fun!" she declared. Linda was snagged into 
doing pop-ups by a friend who had overbought "pinch 
dolls," those 3" costumed plastic dolls with arms that 
separate when pressed on the shoulders, then grasp an object 
when released. Her friend wanted to bring something special 
to a nephew in the hospital and enlisted Linda's help, thus 
giving rise to the Pea-Pod gang. Today, Linda has 14 books 
to her credit. While going for the "Yikes!" not the "Wow!" 
effect, Linda certainly wowed the group with some of her 


Andy Baron 

oversized pop-ups, especially the rabbit in the tall grass 
(Big Hair/Big Hare?). 

Andrew Baron, still the 
"Wunderkind," began his 
talk by holding up the 
world's largest pop-up 
uterus. Men-o-pop, one of 
Andy's two recently 
engineered books, had been 
a "difficult birth." It is 
already in its second 
printing. Andy continued 
with an almost 40-minute video 
on the making of Knick- 

Knack Paddywhack, (KKP) as in "This Old Man Came 
Rolling Home," with Paul Zelinsky. We were to literally 
witness the nuts and bolts of the making of the most 
complex movable book ever. (There are no pop-ups in 
KKP.) Bound for the Hua Yang Printing Company, we 
shared a seat with Andy as he experienced the teeming 
streets of Shenzhen, China for the first time. What 
followed was a step-by-step (Andy will never be accused 
of not being detail-oriented!) view of how KKP was 
printed, die-cut, and assembled. We looked over the 
shoulders of every specialist as they refined each process 
according to Paul or Andy's changes. Colors couldn't 
bleed, the assembly line had to be organized, and every 
spread needed to move smoothly. The book has 200 
movable parts, 300 glue points - twice the usual number - 
15 lift-the- flaps, and 10 parts on the last spread alone, 
moving simultaneously with one tab! ! ! 500 people worked 
on the book. We were tempted to wipe the sweat from 
their brows. It was humbling to see so much effort just for 
our pleasure and all for only $18.95. 

Andy described the working conditions at Hua Yang, 
anticipating a question he is most often asked in this post- 
Kathy Lee Gifford/Nike era. He told us most workers are 
women between 18 and 24 years of age who send enough 
money home to be "set for life." The environment is clean 
and safe; the factory houses and feeds them. Five tons of 
rice are consumed each day! At the height of the season, 
3,000 workers are employed. Each one is individually 
trained for the task. 

The net result for us movable book worshipers was to 
be awed by the process. Never again will we cavalierly flip 
through a book and dismiss it. Even those which don't 
thrill us bear the hallmarks of this incredible effort. Our 
newly found respect for this intensely detailed process is 
much akin to having children of one's own and 
understanding for the first time what goes into being a 
parent. We saw "behind the curtain" and knew we weren't 
in Oz. The term "magic" took on another quality, a more 
mature one. 

Since I never run out of "awe," I had plenty left for Paul 
Zelinsky whose talk was scheduled after the lovely lunch and 
book sale. Paul packs pounds of talent into his small frame. 
A polished performer, he led us through the initial process 
of coming up with KKP, from the original concept, (Itsy 
Bitsy Spider was discarded for having only up and down 
movements), to coming to my home to select the paper 
engineer, Andrew Baron. (We also witnessed on the video 
the first face-to-face meeting between Andy and Paul who 
had worked on KKP for over a year via phone, fax, email, 
and mail. They had actually grown to resemble each 
other!!!) It had been ten years since the very successful 
Wheels on the Bus, and Paul wanted to do another children's 
song. While "thinking through the words" is the most 
pleasurable part of the project, Paul also showed us pages 
and pages of doodles so that we could watch a single old 
man evolve into many different ones each with a "matching" 
dog. Even the concept of "old" morphed into someone who 
could be "historic." Talk about being a fly on the wall!! 

As the project 
advanced, Paul and Andy 
used the latest technology 
to communicate their 
ideas. (The screen spun 
with a plethora of pages 
from his phone bill and 
email account list.) Web 
animation was most 
helpful for Andy to show 
Paul progress in the 
movement of the artwork. Paul was seeking a "sense of 
chaos and motion". (There is no other book which has so 
much movement for one pull of the tab. I know, somewhere, 
Meggendorfer is tipping his hat to Andy.) Most awesome for 
me in the presentation was seeing the movables from the 
back which had a very organic quality, like a "beating 
heart," according to Paul. 

We saw again the production process in China but from 
Paul's point of view. Richard Burgess, Senior Marketing 
Manager for Hua Yang, was ever in attendance. Having 
immersed himself deeply in the production of KKP, Paul 
found it "hard to let go of the project." His beautiful artwork 
(he works in oils) was continued after the publishing of the 
book by his making his own KKP tie - which he wore - and 
designing the store display cases. Andy and Richard were 
also unable to "let go" and could be seen throughout the 
conference continually pulling on KKP tabs... a mobile 
quality-control team. 

Ever the stickler for detail, like the spinning wheel in 
Rumplestiltskin, Paul had us focus on the carpet on the final 
spread. It has eight (8!) different numbering systems, 
Babylonian, Mayan, Chinese, Hebrew, Ethiopian, Arabic, 
Roman, and Sri Lankan. Careful examination of ever)' 

Paul Zelinsky 


spread will yield many surprises. Andy pointed out, "The 
more you look, the more you see." 

After this thrilling talk, Paul and Andy signed books 
appearing as the cohesive team they had become. That 
other "Dynamic Duo," Robert Sabuda (The Night Before 
Christmas) and Matthew Reinhart (Popposites), also 
signed their collaborative The Young Naturalist 
HandbookfsJ- Beetles and Butterflies. 

Our final speaker, Collector Extraordinaire, Adie 
Pefia, presented a feast for our eyes with pop-up 
advertisements from his collection. This cornucopia of 
colorful and sometimes surprising ephemera - Greek for 
mayflies - whetted our appetites for the viewing of the 
exhibition which was to follow upstairs at the Eisner. 
Since Adie's collection is so vast - although he sadly told 
us the Philippines, his home, turns out few pop-up 
advertisements - Adie only showed us items given to him 
as gifts, "drawer stuffers - not seriously collected." A 
veritable Fagin, Adie even had his sister stealing a pop-up 
menu from Denny's! (Having been with Adie in the 
presence of possible "donors," I can bear witness to his 
shameless begging and pleading.) Outstanding among the 
items was a brochure from the Australian Tourism Board 
which folded origami-style into a kangaroo. 

Chuck Sable, 
curator of the exhibit, 
Pop Up Advertising, 
told us he was 
inspired by Brooklyn 
Pops Up! to mount 
this exhibition of 
promotional pieces. 
After giving a tour of 
the building, a former 
lighting factory 
(cl892), we were let 
loose in the second floor gallery to "Ooh!" and "Aah!" As 
to be expected from those in the design business, the 
Eisner had used their well-lit, open space to the pop-ups' 
best advantage. The exhibit, which runs until February 2, 
2003, was divided into categories, mostly represented by 
the "Big Money" groups - cigarettes, alcohol, and 
pharmaceuticals. Most of the 100 ads had appeared in 
"high-end, glossy magazines." According to Sable, "[An] 
ad is conceived as art and concerned about design 
aesthetics." Some ads were over the top with interactive 
components. Interactive elements were used on the walls 
of the exhibit as well. We were 
lucky to have with us Cliff Wood of Trimensions, Inc. and 
Frank Ossman of Structural Graphics, two companies 
which had produced many of the ads. Their presence 
allowed us to get some background information and 
congratulate them as well. Sadly, individual paper 

Entrance to Pop Up 

engineers were rarely credited. Wally Hunt, of course, was 
puffed with pride having been an originator of pop-up 
advertising in the 1960s. 

Ann again donned her virtual chauffeur's cap to take 
many of the pooped-out conventioneers back to the hotel for 
a brief respite. Still a "driving" force, she next delivered us 
to Marder's Restaurant, for a taste of Heidelberg in 
Milwaukee. As promised in our MBS promos (thanks, 
Adie!), many got to taste a buffet of beers and Bavarian food. 
Lucky were the "senior" members already on the statin drugs 
for lowering cholesterol. 

I hear it was sunny in Milwaukee on Saturday, and that 
the streets were abuzz with the imminent arrival of Paul 
McCartney who would appear that night at the Performing 
Arts Center across the street. Many, like yours truly, never 
got to step outside lest we miss the jam-packed schedule Roy 
had planned. (Even he was apologizing for such a full 
program. Doesn't he know we're not so young anymore and 
can only retain so much?) 

A ray of sunshine came into the 
Wyndham Hotel in the form of 
Dagmar Kubastova Vrkljan 
(pronounced Virk -len), Vojtech 
Kubasta's daughter. She had 
graciously made the trip from 
Canada with her husband, Nick. I 
was overwhelmed at the gesture, 
timed for my scheduled lecture 
about her father later in the day. I 
introduced her with pride to 
whomever I was able, gleefully 
watching members reach out to 
literally touch the closest living 
thing to our venerated icon. 

Dagmar Kubastova 

More light poured from our first speaker of the day, the 
handsome, and, yes, youthful, Matthew Reinhart. Matthew 
mapped out his road to pop-ups. While always an artist, his 
parents pushed for the more lucrative profession, medicine, 
drawing on his interest in biology. Yet, he deferred his 
acceptance to medical school and took a year off in New 
York, sampling the "starving artist" life in SoHo. To make 
ends meet, he held a job at the Eye Bank for Sight 
Restoration where he removed eyeballs for transplantation. 
(Readers-I don't make this stuff up!) Matthew learned he 
didn't like hospitals or sick people. With his parents' 
support, he entered Pratt Institute in Brooklyn, New York 
and studied Industrial Design. 

Always a toy collector, especially Star Wars and 
transformation robots, Matthew focused on toy design. 


Matthew Reinhart 

After meeting Robert 
Sabuda at Pratt, Robert 
offered Matthew an 
internship exposing 
him to the world of 
pop-ups. In 1998, 
Matthew was 
approached by Melcher 
Media to engineer a 
book, The Pop-up Book 
of Phobias. Matthew 

thought the concept "Sveird" and "not a good idea." (Well, 
I did say he was "youthful.") While browsing at Maxilla 
and Mandible, Ltd., a store selling animal bones and 
carcasses near the Museum of Natural History, Robert and 
Matthew found themselves fascinated by bugs framed 
under glass. With Robert sharing his enthusiasm, 
Matthew pitched the idea of a factual insect pop-up book 
to Hyperion who liked the dummies for The Young 
Naturalist Handbooks. (A flat book, Insect-lo-pedia, will 

The search for the most exciting insects (which 
included a backstage visit to the Museum of Natural 
History) yielded the Australian stag beetle which was both 
"pretty" and had "big mandibles." Using Adobe 
Illustrator, the artwork was scanned in to make die-lines, 
making the various parts of the insects "look like 
roadkill." The butterfly required blowing flocking onto 
glue necessitating assemblers to wear face masks. The 
beautiful insects, a beetle and a butterfly made with 
iridescent foil housed in faux glass boxes, are the first 
pop-ups which "do not have to fold flat." For future 
projects, like Noah 's Ark, Matthew plans to "focus on the 
fun stuff, not just the academic." Ah, those "younguns!!" 

Almost without taking a breath, Roy ushered in Joanne 
Page, a conference regular, to provide information on 
repairing books and to answer questions on attendees' fix- 
it needs. She recommended Japanese paper with strong, 
long fibers for tears and using wheat starch or white glue 
(archival, of course). Bent pull-tabs could be reinforced 
with 2-ply Bristol paper or cardstock. She cautioned NOT 
to use pressure-sensitive tape ("don't use any material 
which can't be reversed") and described the use of acetone 
to remove the residue from such tape. A sheet of suggested 
vendors (see websites below) for archival repair supplies 
was provided as well. 

Again, with his now familiar scheduling "shoehorn," 
Roy introduced Emily Martin, an Iowan book artist who 
produces work from her Naughty Dog Press. Emily's 
initial artistic interest was in sculpture but found the work 
"dangerous and heavy." She moved on to paper sculptures, 
clay work, and intaglio (etching). Finally, she settled on 
books as an alternative to sculpture producing her first 

Pam Pease 

pop-up, In One Ear, written with her sister and mother. Her 
Vicious Circle Series made use of the flexagon form. But it 
is the Iowa Series or "How a Tornado Spawned Five Books" 
(see Movable Stationery. Nov. 200 U, which to-date is her 
magnum opus, a five-volume set originating from her Iowan 
experience with tornadoes and her need to justify to 
outsiders living in the state. The books take several formats, 
including a carousel, tunnel book, flexagon, and panorama. 
Development of her book, Sleepers, Dreamers, and 
Screamers, was halted by the events of September 1 1 . In the 
spirit of "You Had To Be There," I am unable to give you 
the flavor of Emily's wit, one which comes through 
raucously in her books. 

The last time we saw 
Pam Pease she had just 
self-published The Garden 
Is Open. I declared her my 
idol. With the completion 
of her latest project, I 
raised the pedestal. While 
watching the Macy's Day 
Parade in 2000, Pam 
realized that the following 
year was to be the Parade's 

75 th anniversary. "What a great idea for a pop-up book!" 

Pam thought. Pam called me and I enthusiastically agreed. 

She hoped to have the book ready by the that November. 

"Lotsa' luck!" I said. (She had asked me to candid, after all.) 

Pam ploughed in and prepared a dummy for Macy's, who 
loved the idea. (She reasoned, "These were people who put 
on parades for a living.") But Macy's only agreed to loan 
their name and then set her adrift. Never rudderless, Pam 
got to work and secured the most difficult items of all, 
permission to use each of the various names, e.g. Big Bird, 
Snoopy, and the Rockettes. She met the worst resistance 
with the Rockettes who complained, "the legs look too fat." 
Unable to find publishing support, Pam did it the old- 
fashioned way and dug into the pockets of family and friends 
procuring 50 investors. Andy Baron helped with paper 
engineering problems. 

Pam found a printer/hand assembler in China and her 
book was launched. Besides the trade book, there is a limited 
edition of 300 with an extra pop-up. We were shown the 
beautifully foil-enhanced book with the Rockettes' signature 
"kick-line, high-steppin" with just the pull of two tabs. 
Besides a book signing at Macy's, the piece de resistance 
will be Pam's performance in the Parade as a clown!! 
Caught this day between her daughter's 18 th birthday and 
her father's 90 th , Pam, breathless, had time to tell us of two 
more projects already in the planning, a pop-up book of 
Radio City Music Hall at Christmas time and another of the 
Wright Brothers' solo flight. My idol, indeed! 


Lunch looked beautiful but I had "bigger fish to fry," 
namely getting ready for my talk on Vojtech Kubasta 
which I began by explaining how lucky I was when it 
came to pop-ups. For example, Dagmar, in Canada, had 
caught my segment on The Martha Stewart Show and 
found me. Eager to revitalize her father's legacy, Dagmar 
extended herself for interviews by phone and fax. She also 
loaned photographs of some of her Dad's work which I 
incorporated into the presentation. Drawing upon items 
from my Kubasta collection, I sought to give an 
understanding of Kubasta, the man, and biographical 
information for which we were all starved. Kubasta was 
born in Vienna on October 7, 1914, grew up in Prague, 
and graduated from the Polytech Institute of Prague in 

Embarking on an architectural career, Kubasta would 
design a hotel and, later, a vacation home for his family, 
creating art works and furnishings as well. His tenure as 
a professor at the School of Graphic Design was ended by 
the Nazi's march into Prague in 1 94 1 . He then worked as 
a designer of household plastic goods also creating sales 
brochures and promotional material, several of which 
were shown. At this same time, he started working for 
Aventinum Publishing in Prague. With different 
historians, he did a series of five limited edition folios I 
believe to be the harbingers of the "Panascopic" series 
begun in the late 1950s. The folios consisted of stiff 
cardboard folders, about 1 1" by 17", with linen bindings. 
Inside was a separate 3-5 page booklet of text with an 
elaborate vignette on the cover and a smaller vignette on 
the colophon. Hand-colored chromolithographs of 
architectural features of Prague would be included. The 
first folio, in 1943, of the Loretta Monastery was a 
relatively straightforward depiction of buildings of the 
Prague site. The last folio in 1945 of the Klementinum, a 
16" 1 century Jesuit college with an astronomical 
observatory, already showed some of Kubasta's brightly 
colored and whimsical artistic hallmarks. (Kubasta did 
another folio in 1954 commemorating Mozart's visit to 
Prague in 1754. Kubasta was a life-long Mozart devotee.) 

The first dimensional piece in the collection was an 
undated pop-up souvenir card from the early 1950s. 
(Around this same time, he was doing set design and 
costumes for a puppet theater and producing souvenir 
items for Slovtour Publishing.) Until then, Kubasta had 
illustrated many children's flat books. 

My talk was called, "The Prolific Artistry of Vojtech 
Kubasta," and I shared my incredulity at the number of 
illustrations he created from the late 1950s through the 
1960s - literally thousands of them. One Kubasta 
contemporary commented, "Kubasta was born with a 
pencil in his hand," which could be seen in a 1984 photo 
of him working in his home studio. It wasn't until 1953 

that he offered to Artia, a Prague publishing house, a crude 
working dummy of a pop-up book which was well received. 
It was also at Artia that Kubasta saw the Blue Ribbon 
Mickey and Minnie Mouse pop-up books. Those of us who 
had believed it was the Jolly Jump-up series which may have 
inspired Kubasta's love-affair with pop-ups now had the real 
"scoop." Kubasta went on to produce for Artia over 200 
titles, with 10 million copies in 37 languages! His concertina 
design showed great economy of paper while his technical 
ingenuity maximized the dynamics of the movables. 

Dagmar had told me that there was a collector's group in 
Prague which coveted the 12 - 15 Christmas 
centerpiece/advent calendars her father had designed. Two 
are a part of the "Panascopic" series. One untitled piece, I 
call Silent Night, is a triptych with the pop-up signed by 
Kubasta and the 2 "wing" pieces drawn by others in 
Kubasta's style. There are plans in the works to have these 
holiday pieces reprinted in Prague. Other Kubasta books 
may be reproduced as well. 

Kubasta saw himself as an Eastern European Disney, 
imaginative, entrepreneurial, and inexhaustible in his ideas. 
There is no question his reach was restricted by the Nazis 
during WWII, and, after, by the Communists. He did have 
the opportunity to fulfill a lifelong dream to work for Disney, 
engineering 5 books, including 101 Dalmatians which 
featured his own artwork in the Disney style. 

Another question answered was the derivation of the Tip 
+ Top + Tap series. Dagmar affirmed that they were her 
father's idea. He had wanted to imagine characters which 
were not mythical or classical but to whose antics children 
could directly relate. The names, he reasoned, would need no 
translation. Vojtech Kubasta died in Prague on July 7, 1992 
having left a legacy of highly cherished pop-up and 
illustrated books. I could have gone on another hour but we 
had more fun things to do. 

With a break only long 

enough for materials to be 

assembled, we moved into 

the "audience 

participation" portion of 

the program. Whether 

giddy with fatigue (this was 

some full day!) or just 

looking to let one's hair 

down, tunnel book-making 

with Ed Hutch ins and 

paper engineering with 

Robert Sabuda was riotous, 
Ed Hutchins if not bawdy good ^ 

Ed gave us the 
abbreviated version of the history of tunnel books (see his 
treatise, "Exploring Tunnel Books," Artists ' Books Reviews, 


vol. 6, Winter 2002) and passed under our noses the 
wonderful books he would have at the Swap/Sale to 
follow. The allure of tunnel books, he said, was that the 
"Yeader enters inside unaware of what's around." 
Ed is the consummate teacher- patient, prepared, and 
precise. He led us merrily down a golden path or, should 
I say, tunnel, to making our own versions of this versatile 
format. But some unnamed individuals, whose egos 
crumbled under the weight of being perfect or having 
"mature" expectations, were not so merry. What could be 
heard, at my table at least, was, "Is this right?" "I'm doing 
this wrong." "Do you like this?" "Oh, no! I'm left- 
brained!" Dagmar Kubastova was having her own 
problems manipulating the scissors and glue, but then, she 
had her father's reputation to live up to. 

It was the table at the door, however, which caused the 
most ruckus. I think I even saw Ed blush a few times after 
being called over to view their work. I never got to see 
their ""products" but Ed called it the "smut" table. I should 
talk! My runnel book was entitled, "Perversion." Let's just 
say, "We let it all hang out!" 

Robert (with Matthew mirroring him at the other end) 
followed Ed with a well-oiled presentation. Robert had us 
"creasing and wiggling" our 1 10 lb. cardstock making v- 
folds and layer folds turning us into comfortable pros 
inside of 1 5 minutes. He supportively cooed, "Wiggling is 
good." The "needy ego" at my table triumphantly 
declared, "I made it myself!" 

Continuing the frenetic pace, Roy announced the 
Sale/Swap/Book Signing and with little fanfare and much 
chaos, gluesticks, scissors, and paper were cleared. The 
tables were now set with old pop-up books from dealers 
and fellow conventioneers. Ed Hutchins and Emily Martin 
had their own Artists' Book Table which seemed to be 
doing a brisk business. Cliff Wood declared himself a 
"convert" and bought his first Kubasta. There were rumors 
of transactions having gone on privately in rooms in 
previous days, and hints of the "pajama party swap" to be 
held that night. Robert and Matthew anchored the only 
calm corner, fluidly signing their books. 

With barely enough time to relax (yeah, right!) and 
dress, the final chapter of our Conference opened with 
another crowded agenda. Our meal was delicious and 
topped off with a celebration of youth, Matthew Reinhart's 
birthday. Putting on her chefs hat, Ann sliced us all 
generous portions of cake. She then took the podium and 
thanked, among others, Roy Dicks, who accepted pajama 
bottoms as a gift. (The pajama-book swap was his idea. I 
swear! ) When the laughter died down, Ann introduced our 
keynote speaker, Richard Burgess of Hua Yang. 

Boyish and blond, Richard held up one of the DK Snap 

Richard Burgess 

Shot series which were on the banquet tables as gifts for the 
conferees. The series had been the first pop-up books he 
worked on at Excel. (At our table, I could see him 
registering the passage of time and wistfully assessing how 
far he has come in this field.) Richard began by outlining 
how he found himself making a life in pop-up books. With 
a degree in aeronautical engineering, his youthful 
restlessness took him to China to visit a classmate and 
resulted in his replacing his friend at Excel, a hand-assembly 

After 2 years at 
Excel, he spent 2 years 
at White Heat doing 
quality control in Hong 
Kong, and then moved 
on to Hua Yang where 
he's been for the past 4 
years. At Excel he 
remembers asking, 
"What is a pop-up 
collector?" that 
experience being his first with pop-ups, a "baptism" of sorts. 

Richard gave us a brief history of Hau Yang, which 
started in Shanghai (under another name) in 1935 directed 
by Chung Ming Chan. It was moved to Hong Kong in 1949 
to escape Communism. In 1987, a factory was opened in 
China and simple pop-ups were made. Hua Yang was 
bought by Zindart in 1998, a printer and manufacturer of 
hand-made books, specialty packaging, and other paper 

In its half million sq. ft. factory, Hua Yang nurtures its 
workers providing health care, minimum wage standards, 
training, and meals. Its planning department maps out each 
project in an attempt to avoid problems. We had seen 
evidence of this in Andy's video where each spread had its 
own "production book" encompassing everything from the 
hand-made dies to the order in which movables are 
assembled. The quality of the paper is tested, and the final 
books are individually dehumidified before being shrink- 

Richard commented on the many changes which have 
taken place in the pop-up book manufacturing world, among 
them are the consolidation of publishers, the decrease in the 
number of packagers - some have begun self-publishing - 
and the greater independence of paper engineers. Not 
wanting to venture into "Tomorrowland," Richard did say he 
sees the need for more innovation in projects. 

As we tried to digest both our dinners and Richard's 
large output of information, Roy, forever stirring the pot, 
moved us onto our first-ever auction. Andy Baron, 
understanding the heart of a collector, contributed one of the 
140 salesman copies of Knick-Knack Paddywhack, certainly 


a treasure for anyone's collection. Roy, now an auctioneer 
- and a most able one I might add - brought the gavel 
down after brisk competition at $160, sold to Intervisual 
for its pop-up museum. The proceeds from the auction will 
go to offset the cost of the conference. Wouldn't this be a 
great way in the future to help defray conference costs and 
whet collectors' appetites to spend money? Publishers, 
packagers, and paper engineers take note: Donate! 

Wally Hunt stood up to salute the group, offering his 
optimistic view for the future of pop-ups including the 
Frankfurt Book Fair which should have many new titles. 
He graciously invited all of us to the Los Angeles Central 
Public Library's exhibit of pop-ups from his collection. 
The exhibition will run until mid- January. 

At last, we came to the denouement of the evening, the 
presentation of the 3rd Meggendorfer Prize. Fulfilling my 

assignment as the 
presenter, I announced 
the prize "Miss 
reading the names of 
the runners-up first. 
The second runner-up 
was MBS's very own, 
Brooklyn Pops Up, and 
the first runner-up, the 
most unusually 
formatted book in the 
group, Roly Poly 
Nursery Rhymes by 
Kees Moerbeek. And 
the winner is. . . Robert Sabuda's The Wonderful Wizard of 
Oz. Robert shyly came to the podium to accept yet another 
well-deserved prize. There was no acceptance speech. Like 
bobblehead dolls, we all sat silently nodding in agreement. 

The Conference disbanded with a clear affirmation of 
who we are. Our Society is "on the map," no longer a 
fledgling. As a group we had acquired a new and more 
mature appreciation of our beloved pop-up books, 
especially the talent, patience, tenacity, and man-power it 
takes to bring them to fruition. These new insights, 
garnered from the exhibit, in-depth lectures, and videos, 
and personal interactions as well, put a patina on who we 
are as collectors, artists, and business people who "live" in 
the world of pop-up books and ephemera. Time has served 
us well. Plans are already underway for the next 
conference, which will surely be an eventful milestone. 

Conference-related websites: 

1. Photos from the conference: 

2. Photos from the Eisner: 

3. Repair suggestions from Joanne Page: 

Ellen Rubin presenting 

the Meggendorfer Prize 

to Robert Sabuda 

Archival inks for inkjet printers: 

4. University of Iowa Paper Facility 

5. Emily Martin: 

6. Pam Pease: 

7. Ed Hutchins: 

8. Hua Yang: 

9. Men-O-Pop (Fill 'er Up Productions): 

10. Knick-Knack Paddywhack, or 

The photographs used in this article were taken by Burt 
Thompson and Robert Sabuda. 

Hildegard Krahe, continued from page 1 

Sitting in the shady little garden of her apartment with a 
wonderful view of a snow-covered mountain and disturbed 
only once an hour by a tooting train crowded with tourists, 
the smart, tall lady told me the story of her life, regularly 
going to get another book, notes, photocopies of some 
important old movables or just another glass of some 
refreshing drink. Was this an 80-year old woman? Her body 
may be, but her spirit is much younger and the glimpse in 
her eyes often gave away the little girl that is still in her 

Born in Berlin in 1922 
she attended high school in 
the 1930s when the Nazis 
came to power in 
Germany. She graduated 
as a librarian in 1943. 
Since she had no sympathy 
for the Nazi ideology, and 
made no secret of it, she 
thought that she would be 
without work. But her 
sincerity was observed and 
she got a job in a small 
Berlin office. Though it 
struck her that there were 
some retired people living in the building that housed the 
office, it was only decades later that she learned these people 
went into hiding there for the length of the war. 

After the war, in 1945, she got a job as a librarian in 
Berlin-Spandau where she worked for the next ten years. In 
the late 1940s she met Mrs. Jella Lepman who in 1948 
founded the International Youth Library Munich to 
stimulate "international understanding through children's 



■ . 1 
> ] 

Hildegard Krahe 


books" and directed Hildegard's attention to children's 

In 1954 she married Peter Krahe and though she had 
thought since her girlhood that she would have six boys, 
the marriage, unfortunately, was childless. Two years later 
they moved to Hamburg where she got a staff position at 
the children and youth book department of the Hamburger 
Offentlichen Bucherhallen, the city's public library. In 
1958 she organized a large educational exhibition of 
international children's books that brought her in contact 
with several German and foreign writers, illustrators, 
scientists and publishing houses. 

She left that job in 1963 to work as a freelance writer, 
translator, teacher, reviewer, member of the jury of several 
(international) children's book prizes, and scientist (theory 
of children's literature). Her reviews in the journal Die 
Welt and her articles on children's books in Die 
Frankfurter Algemeine drew the attention of the 
prestigious magazine Die Zeit and in 1 967 she was asked 
to do an interview with the then raising star and author of 
picture books Maurice Sendak. For the first time she went 
to the USA, the start of what proved to be a lifelong love 
for American children's books and of a series of long and 
short stays there in the next 20 years. The meeting with 
Mr. Sendak turned in a close friendship as shown by the 
many copies of Sendak's books with personal inscriptions 
and special drawings on her shelves. In 1969 her highly 
acclaimed German translation of Sendak's Higglety 
Pigglety Pop! was published, still her favorite children's 

Movable Books 

Mr. Sendak, himself an avid collector, showed Mrs. 
Krahe some of his movable books and asked her for 

information about 
them and asked her to 
look in German 
bookshops for copies 
of movables, 
especially those by 
Lothar Meggendorfer 
- a man, she said, she 
had never heard of 
This was the start of 
her interest in 
movable books and by 
good fortune she had 
the opportunity to see 
and study a whole 
range of old movables in the famous collection of the 
Hamburg collector Ludwig Hirschberg. The movable 
books by Meggendorfer especially fascinated her and 

elicited in her a desire to study them. Since the archives of 
his main publisher Braun & Schneider from Munich had 
been bombed in the war, and since she would not limit 
herself to just bibliographical dates, Meggendorfer became 
her travel guide for years taking her through the German 
libraries and museums of Munich, Berlin, Frankfurt and 
Braunschweig to see as many copies as possible. 

When Mr. Hirschberg asked for her assistance in the 
preparation of the exhibition of "Movable Books from the 
Hirschberg Collection," held in 1974 in the Hamburger 
Kunsthaus, she profited from Mr. Hirschberg's extensive 
knowledge and she also got permission to take pictures and 
slides of his treasures. The result of these studies in the field 
were published this year as Spielbilderbucher. Ein 
Kaleidoskop Verwandelbarer und Beweglicher 
Kinderbilderbilcher (Picture books to play with. A 
kaleidoscope of changeable and movable picture books for 
children). 1 Also in 1974 she was asked to do a 
talk- with-sl ides presentation: "Toy-Books. The Tradition of 
Book Curiosities During Three Centuries" at the 
international Loughborough Conference held in Bremen. 2 
An enlarged and augmented German version of it, with 
illustrations, was published in 1980 as Das Buch als 
Spielzeug. Riickblick auf 300 Jahre Wandlungen der 
Verwandlungsillustration (The Book as a Toy. A 
Retrospective View of 300 Years of Changes of the 
Changeable Illustration). 3 

However, the year before she had a Meggendorfer 
experience that would chance the rest of her studying life 
and result in her name being associated with the maestro 
forever. Back in New York consulting on one of her 
translations, she had lunch with the Macmillan 
vice-president Susan Hirschman. When Mrs. Hirschman 
asked of her writing plans, Mrs. Krahe hesitatingly dropped 
the name of Meggendorfer. Though she thought nobody 
knew that name, Mrs. Hirschman immediately said: "Make 
haste or stop eating" and made, at the same time, an 
appointment with the neighboring antiquarian bookseller 
Justin Schiller. Mr. Schiller took her - five hours before her 
flight back to Hamburg - to the safe-deposit of his bank 
where he spread out the treasures of the Meggendorfer 
originals. Mr. Schiller using his professional knowledge, 
had bought them only a short time before (the antiquarians 
hardly noticed ) at a Stuttgart auction where they had been 
brought in by the publishing house of J.F. Schreiber from 
Esslingen near Stuttgart when they cleared their archives. 

The Meggendofer monograph and bibliography 

When she was asked in 1975 to be part of the jury of the 
children's book illustration prize of the Czechoslovakian 
Biennale Bratislava (BIB) she happened to meet another 
Meggendorfer enthusiast in the person of the jury's president 
Prof. Dr. Horst Kunze from the German State Library in 


Berlin/GDR. At the next meeting of the jury he brought an 
invitation for her to prepare a Meggendorfer bibliography 
for the respected Pirckheimer Gesellschaft in which Prof. 
Kunze had a leading position. She did so and the first 
edition of her Meggendorfer-Bibliographie was published 
in the magazine of the Society. 4 In the meantime Mr. 
Justin Schiller had to abandon his attempt to save the 
Meggendorfer archives as a unity - an aspiration for which 
he had even founded a special Meggendorfer Association. 
In the hope the city of Munich would be interested to buy 
the archives of its important artist-citizen, he arranged an 
exhibition in the Munich Puppentheatermuseum from 
December 1980 through February 1981. The 
accompanying publication Lothar Meggendorfers Lebende 
Bilderbucher (L.M.'s Living Picturebooks) contains very 
interesting articles on the production and reception history 
of the movables as published by Schreiber (including the 
earnings Meggendorfer received from his movable books) 
and a reprinted article from a 1902 magazine on the 
success of his books. Mrs. Krahe prepared the German 
translation ofMaurice Sendak's Lothar Meggendorfer: An 
Appreciation and contributed a short biography of 
Meggendorfer and a second version of her 
Meggendorfer-Bibliographie (p 49-86). 5 

Though the exhibition was very successful, the officials 
of the city did not choose to buy the collection. One of the 
visitors, however, the publisher Heinrich Hugendubel, 
exclaimed when he saw the wonderful collection: "Why 
don't we make a book out of it?" The museum director Dr. 
Wolfgang Till answered: "And I know already its author!" 
In this way Mrs. Krahe received the honor of writing the 
monograph. It took her a lot of additional research 
because until then she had been interested only in 
Meggendorfer's picture books and now she had to also 
study the rest of his artistic and editorial (the magazine 
Die Meggendorfer Blatter) activities. The lay-out of the 

book and the 
reproduction of the 
pictures, often from 
poor copies, took 
time as well. An 
additional problem 
was the auction of 
the Meggendorfer 
Archive at Sotheby's 
in June 1982 but the 
auction house helped 
her by providing 
copies of pictures 
they made for their 
catalog. The book 
was published in 
1983 at Hugendubel as Lothar Meggendorfers Spielwelt 
(The Playing World of L.M.), with a preface of Dr. 
Wolfgang Till. Again Mrs. Krahe gave a completely 

I nili.ii Meggendorfers 



revised edition of her Meggendorfer bibliography on pages 
187-193 of this well researched and beautifully illustrated 
book. It has been the standard reference work on the subject 
for almost 20 years, referred to by researchers, auctioneers, 
and antiquarian booksellers. It also made her the ultimate 
Meggendorfer specialist all over the world. 6 For this specific 
book and for all her other work on children's books she was 
honored in 1984 when the Deutsche Akademie fur Kinder- 
und Jugendliteratur in Volkach am Main awarded her that 
year's "Volkacher Taier." 

The publication of the book brought a lot of other 
reactions and new acquaintances. A very charming one was 
a letter from an old lady in a Munich old people's residence 
who turned out to be the daughter of the Munich art 
publisher Wilhelm Loos for whom Meggendorfer designed 
a series of now very rare movable cards. They had comic 
effects mostly achieved by (up to four) turning wheels. When 
Mrs. Krahe visited the lady she was shown a box from under 
her bed that contained a whole bunch of partly unpublished, 
original Meggendorfer designs for postcards with Munich- 
related themes, known as "Munchener Kindl." This specific 
theme has since grown into an additional collecting and 
research area for her. 

Since the phenomenon of the Meggendorfer reprints 
started at the end of the 1970s, she has written compact but 
very informative afterwords for most of the German editions 
published by J.F. Schreiber. She has also used these texts to 
give new information found after the publication of her 
monograph, to correct inaccurate attribution of movable 
books to Meggendorfer and to reveal the real illustrator of 
the books. Several times she has organized exhibitions of the 
works of Meggendorfer and/or other movable books. Her last 
one was in 1997 to commemorate the 150th birthday of 
Meggendorfer, in Traunstein in Bavaria where she was then 
living. She and Peter went there for holidays years before 
they moved to Traunstein after Peter's retirement. Again she 
wrote an accompanying publication: Bayernnah und 
weltbekannt Lothar Meggendorfer zum 150. Geburtstag 
(Familiar to Bavaria and world known). 7 

Though very seldom found, she is not pleased by a "Not 
in Krahe" used in auction or antiquarian bookseller's 
catalogs. As a result, she has listed and researched all of 
them (mostly varieties of known books or obscure foreign 
editions) in preparation for a further revised and enlarged 
(fourth) edition of her bibliography that, as she showed me, 
is now complete but not yet published. The question is if the 
bibliography ever will be "completed." Mrs. Krahe says: 
"This Lothar brings me always new surprises" Even after 35 
years of research? Two of the biggest surprises he brought 
her since the book was published in 1983 she describes in 
the catalog that was published with the exhibition of her 
collection in Salzburg. 


Nister and the others 

Of course her research is not restricted to 
Meggendorfer. That other icon of movable books in the 
first golden age of movable books, Ernest Nister, received 
her attention too. Again, she was the first one to write an 
extensive study about him, as she had done on 
Meggendorfer. In 1988 she published her study about the 
publishing activities of Nister in England, the U.S. and 
Germany: "The Importance of Being Ernest Nister." This 
article gives a lot of information until then previously 
unknown. It included biographical information, a 
preliminary lists of Nister's movable books, a preliminary 
checklist of artists and the works they illustrated for 
Nister, and a list of authors and editors with their works 
as well as anonymous titles published by Nister. She still 
regrets that, unfortunately, her study got a very poor 
translation. But until now it is the only substantial 
publication on the works of this important publisher who 
gave the movable book its fame in the 1 9th century. 8 

Since I know she also has a huge and detailed 
knowledge of the history of movable books in Germany 
and Austria since their very beginnings in the early 19th 
century, I asked her why she has never written that 
history. She answered with a counter question: "Why 
describe the flat land once one has seen the top of the 
mountain that Meggendorfer was?" Besides, she fears 
there hasn't been a publisher that would publish such a 
book. We regret this, for when will there be another 
researcher who will have as much systematic knowledge 
of movable books and will have seen as many of them as 
ffildegard Krahe? For now we will have the informative 
concise histories of the movable books she has given 
within her publications. 

The collection exhibited 

Since Mrs. Krahe has now reached 80 years of age, she 
debated in her mind how to leave her collection of 
movable books. Having considered other places such as 
the the Picture Museum Troisdorf the International Youth 
Library Munich, and the Museum im Heimathaus in 
Traunstein, she finally decided on the Toy Museum in 
Salzburg. A decisive reason for her choice was the fact 
that Salzburg is near where she lives and is easy for her to 
reach by bus; so the collection stayed in her proximity and 
available for her research. She told me to be happy with 
her choice of Salzburg. The curator of the museum, Dr. 
Peter Laub, proved not only to be a nice person, but also 
very enthusiastic. Once he had seen the collection, he 
decided to make it the museum's major exhibition of the 
summer, from June to October, 2002 - the whole tourist 
season. The museum's gratitude for the gift of the Krahe 
collection, which made the museum at once a leading 

center of movable and novelty books, has been expressed by 
the making of a wonderfully illustrated and well-documented 
catalog of the whole collection. 

When I visited the exhibition in Salzburg, I met Peter 
Laub and found him to be a cordial man who has become 
enthusiastic about movable books through his contacts with 
Hildegard Krahe. The Toy Museum, housed in an historic 
building with an Italian air is partly built within a rocky 
mountain in the monumental old city of Salzburg. The 
museum changed several spacious rooms of the second floor 
into a feast of colorful three-dimensional paper artwork. The 
chain of tens of showcases built in the walls and newly 
painted with anthracite backgrounds to give the colors 
warmth, and the freestanding showcases allowing visitors to 
see the books from several sides, offered a good survey of the 
variety of movable, pop-up and novelty books in the 
collection. And though there were some 200 books on 
display, the whole didn't overwhelm - on the contrary, the 
relatively low-pitched rooms with the beamed ceilings and 
the historic windows deep in the old walls caused you to feel 
safe and cozy. It was hardly a visit to a traditional museum, 
more like a personal reception at some collector's home, 
though someone with enough room to display the collected 

Guided by both Mrs. Krahe and Mr. Laub I went through 
the exhibition, viewing books arranged thematically, 
chronologically or by the use of special techniques. Both 
my guides told me all kinds of anecdotes with special items, 
characteristic details were pointed out, showcases even were 
opened to show other remarkable pages or movable details. 
I was privileged to hold and play with the extremely rare 
three-dimensional paper museum of Das kleine Belvedere, 
oder: Mignon-Bilder-Gallerie, published in 1839 by the 
intriguing Viennese firm of H.F. Miiller, the equivalent of 
London's S. & J. Fuller. Fascinated to see what techniques 
had been used, changing the paper pictures on the walls and 
turning over the pages of the accompanying booklet that 
describes the then newly-built Belvedere Museum in Vienna. 
The pictures shown there and for this paper toy reproduced 
in miniature. 

I was shown the technique used in the early Darton's 
Moveable old Mother Hubbard and Her Dog (ca. 1 860) with 
its movable parts cut out of the background illustration and 
fastened with a string at the lever between the leaves that 
cause the movement. Meggendorfer and Nister movables 
came into action and we mixed and matched the rare 
Meggendorfer booklet Viel Kopfviel Sinn (1898) done in an 
illustration technique of red-hightened pencil drawings, 
otherwise rarely used by him. We had a closer look at some 
never-seen movables, leporellos, books with growing pages, 
carousels, books with pieces to insert, dissolving pictures 
from the 19th century, the use of honeycomb paper for some 
rare "pop-ups" by Wilmsen from Philadelphia, etc. And 


always the well informed comments of Hildegard Krahe, 
foil of new information, corrections of usual attributions 
or theories about the production and distribution of 
movable books in the past, anecdotes about the makers, 
details of personal meetings with some well-known 
illustrators, remarkable or just funny details about the 
purchase of single items. Never I have had such a 
pleasant but instructive guided tour through any 
exhibition! And it didn't end even during the simple lunch 
we had on a sunny Salzburg terrace. It was a pleasure for 
me to hear that Mrs. Krahe had given similar personal 
guided tours to other friends from the circles of movable 
and pop-up collectors who visited her exhibition from all 
over Europe. 

The Catalog 

Peter Laub, Spielbilderbucher. Aus der 
Spielzeugsammlungdes SMC A. Die Sammlung Hildegard 
Krahe. Mit einem Beitrag von Hildegard Krahe. Salzburg, 
Salzburger Museum Carolino Augusteum, 2002. 288 p. 
Ills. ISBN 3-901014-79-0. Euro 25.00. 

As mentioned, the museum reciprocated the generous 
gift from Mrs. Krahe by offering to compile a catalog of 
the whole collection of pop-up, movable, and novelty 
books now in the possession of the museum, including the 
small but exquisite collection already present. Since Mrs. 
Krahe and the museum's curator Peter Laub have worked 
so well together, there has come into existence a great 
book that unites the knowledge of Hildegard and the 
bibliographical skills of Peter - and the hard work of both 
- and that in a preface is called "the first major European 
monograph on the subject." 

The sturdy book, measuring 27.5 x 22 cm. and 
containing almost 300 pages, starts with a preface by the 
museum's director Dr. Erich Marx thanks Mrs. Krahe. 
Next there is an introduction (by Peter Laub?) that places 
the books within the collection of the Toy Museum that 
already had an historic collection of paper toys and, a 
speciality, a very large and special collection of toy 
theaters. The collection of movable and novelty books now 
numbers 323 dating from 1839 to 2002, including about 
50 titles the museum already possessed. The catalog is 
intended "... to be a handbook, a work of reference for 
interested people, collectors and scientists, but before all 
it likes to continue the pleasures that contain its objects. 
That is the reason why we have enclosed in this book all 
items of the collection with at least one, mostly however 
with more pictures." 

Jahrhunderte" (Manifestations of movable and novelty books 
throughout the centuries) and split up into 10 further 
paragraphs is a kaleidoscopic survey of hitherto mostly 
neglected or unknown aspects of the history of movable 
books, richly illustrated in black and white. It is a text that 
needs to be read by anyone who intends to know the history 
of movable books. This is a quick English translation of that 

To give just an impression of the subjects discussed: 
starting with the 1654 Alsop-turnup there is information 
about the early (American) turnups as published by Barker, 
Gustav Peters and of course Sayer; but also about another 
forerunner of pop-up books, the peepshows printed in the 
1 8th century by Engelbrecht in Augsburg. There is a very 
informative paragraph full of new information about the 
early production of paper toys and movables (small cards 
with wonderful moving mechanisms found only half a 
century later in movable books) and even the first movable 
and pop-up books (from 1835/1836) in Vienna during the 
Regency period ( 1 800- 1 840). Special attention is given to 
the firms of H.F. Miiller and M. and J. Trentsensky which 
published a variety of interesting novelties in that time and 
can be compared with Fuller and his Temple of Fancy from 
London in the same period. 

She writes on the beginnings of production of movable 
books in England in the 1850s and 1860s (Dean, Darton) 
and the international cooperation between the makers in the 
1880s. Thrilling information is there about some new 
discoveries she has found in relation to Meggendorfer: a rare 
and unknown movable book Hinz und Mops, never noticed 
before, but now described and pictured with its English 
(Artistic Pussy), French, Czech and Italian editions; and the 
example of a do-it-yourself paper toy from 1 834 that appears 
to have been the model for the well-known "dancing master" 
from the book Lustiges Automatentheater (Comic Actors). 

Paragraphs on books with acetate pages that cause optical 
illusions; on the books with "pop-ups" in honeycomb paper; 
on Harold Lentz, Blue Ribbon and their connections with the 
early Walt Disney; about some lesser known paper engineers 
from the 1940s and 1950s such as Tony Sarg, Julian Wehr, 
Bruno Munari and Jiri Trnka. But also critical notes on the 
quality of the recent Meggendorfer reprints and the 
commercial reasons for making movable books from 
originally flat picture books of Nister. A copy of the Nister 
title from which the illustrations were used to make three- 
dimensional reprints (Round the Hearth) is enclosed in the 
collection. The final paragraph, "The 5 1st Star of America: 
Pop-up Country," has an appreciation of the work of Waldo 

The next 20 pages are the contribution of Hildegard 
Krahe mentioned in the subtitle. The text, under the title 
"Erscheinungsformen der Spielbilderbucher durch die 

It is a wonderful contribution, giving a wide survey of the 
field of study that has occupied her for so many years; full of 
new information, fuller still of reasons for further 


researchers in the unknown aspects of the history of 
movable books. The text makes the catalog a requirement 
for anyone interested in pop-ups and their history. 

The main part of the catalog ( 1 59 pages) has been 
reserved for color pictures of all (notice: all!) copies in the 
collection (even the few doubles). Over 1,700 pictures 
show the cover of very book, at least one but mostly more 
pictures of representative spreads, and from the rare items 
all spreads! The result is a great pictorial encyclopedia, a 
bibliography in photographs, filled with pictures of not 
only rare and expensive collector's items, but of hundreds 
of pop-up and novelty books that are familiar to the 
average collector. A feast of recognition and a joy for 
hours and hours of page turning. I wondered how the 
museum could make it for this price! The last 100 pages 
have the '"usual" bibliography in which every book has its 
bibliographical description (even the thickness of a book 
has been given in centimeters), and an extensive 
annotation. Again, no relevant information has been 
omitted, quotations are richly given, biographical dates 
are painstakingly researched, all the books belonging to 
the Krahe collection are marked as such, the titles of the 
original editions and their publishers have been 
mentioned, etc. There is hardly anything to imagine that 
you would want to know about the book that you cannot 
find here. Even the "remakes" of some books, built out of 
(color) photocopies by Mrs. Krahe with her bookbinding 
skills are neatly constructed. All have the same treatment. 
The book ends with two helpful indexes: one of the names 
of included people and one of the publishing houses. A 
remarkable nouveaute: there is no reference to the usual 
folio reference works but they are almost exclusively to the 
relevant informative websites of the internet. 

There is only one thing I don't understand, why was 
the illustrator chosen as leading principle of the 
classification? For most people I don't think the name of 
the illustrator will be the first thing they think of 
regarding a specific book. How friendly a bibliography is 
for its users is an important criterion and, I think, the 
alphabetical classification by the name of the author or the 
book title would have given better accessibility. Since 
listings are by illustrator, the lack of an extra index by 
book title is a handicap for an easy tracing of a books. 


An 80 th birthday is a special event for anyone. But 
Hildegard Krahe's birthday was made extra special by the 
the Salzburg exhibition of her collection and the great 
accompanying catalog. And so thought Mrs. Krahe herself 
when she said: "I consider the exhibition and the catalog 
the crown on my working life." She considers Peter Laub 
to be one of the six boys she knew as a girl she would 
have; the missing other five she found in some of the men 

who grew to be her friends through their shared interest in 
children's books or more specifically the movable books that 
have had such an impact on and brought so much pleasure 
in her life. And if you think this article reads like a 
hagiography: you are right! For Hildegard Krahe is a good 
friend of mine. But more, she is a very special lady - only old 
by chance. 

To purchase a copy of the catalog, contact Dr. Peter 
Laub. Salzburger Museum Carolino Augusteum, Alpentrasse 
75, A 5020 Salzburg, Austria. E-mail: peter. 


1. Karl Heinz Maier, Historische Aspekte zur 
Jugendliteratur. 125JahreK. Thienemanns Verlag Stuttgart 
1849-1874. Stuttgart, K. Thienemanns Verlag, 1974, 86-91. 

2. A summary was published in Conference Papers 
Loughborough '74. International Conference on Children's 
and Youth Literature. Bremen 1974. 

3. Georg Ramseger (Hrsg.), Imprimatur; ein Jahrbuch fur 
Biicherfreunde. Neue Folge. Band IX. Frankfurt am Main, 
Gesellschaft der Bibliophilen, 1980, p 198-206. 

4. Marginalien. Zeitschrift fur Buchkunst und Bibliophilie, 
number 70, 1978, p 1-36. 

5. Lothar Meggendorfers Lebende Bilderbiicher. 
Ausstellung des Puppentheatermuseums im Miinchener 
Stadtmuseum. Miinchen, Puppentheatermuseum, 1980. 

6. Hildegard Krahe , Lothar Meggendorfers Spielwelt. 
Miinchen, Hugendubel Verlag, 1983. 

7. Hildegard E. Krahe , "Bayemnah und weltbekannt" 
Lothar Meggendorfer zum 150. Geburtstag. Traunstein, 
Stiftung Heimathaus, 1997. Traunsteiner Museumschriften, 
Band 4. 

8. Phaedrus, 1988, p 73-90. 

More About Books in this Issue 

The New York Times Book 
Review (November 17, 2002) 
named K nic k- Knack 
Paddywhack! one of the 10 "Best 
Illustrated Books 2002." Paul 
Zelinsky has been a winner four 
times times previously 

Kees Moerbeek's Rumplestitskin is a hand-crafted 
limited edition book. The beautifully illustrated large pop-up 
comes in a presentation box shaped to fix the book. For more 
information about the book contact Kees at 


Pop Up!, Continued from page 6 

Signage in the lobby and various other locations directs 
visitors to the "Pop-Up!" exhibition on the second floor. 
However, "Leaping Off the Page" is the first show one 
encounters. It's hard to miss, being located on the ground 
floor in two small side galleries straddling the main 

Although running concurrently with the "Pop-Up!" 
exhibition, this little show seems to take its cue from a 
single-day event, held on October 1 2, introducing children 
to pop-up construction. It details the various stages in the 
creation of a pop-up, from concept to print, using as 
examples works by David Carter, Ron van der Meer, Jan 
Pienkowski and Robert Sabuda. A wall-mounted panel 
introduces and summarizes pop-up production and there 
are biographical panels on each of the artists. Cases 
display original art, pencil dummies, color separations, 
proofs and more for some of their most famous creations. 
There are no prizes for guessing the books featured. 

The show's graphics are brightly colored and fun, 
having apparently recruited a few of David Carter's bugs. 
I'm sorry that I was out of town and missed the event. I 
would have taken some of our younger family members. 
Why was it just a one-day thing? 

"Pop-Up!" is upstairs in the Getty Exhibitions Gallery. 
The show graphics, like the banner hanging outside, 
feature a brightly colored jack-in-the-box. Great design. 
Who did it? There's a large 3-D version at the entrance to 
the exhibition. The show proper begins with a panel on 
Waldo Hunt and Intervisual Books. I have never met the 
gentleman but I know that this panel should be bigger. 
Much bigger. In letters of gold. 

The exhibition is basically a large room divided into 
several open-ended spaces, each with between one and 
four themes or sections. These are announced in large 
letters high up on the walls, drawing the visitor from one 
area to the next in a mostly chronological progression. 
The books are nearly all grouped in display cases, with a 
few singles. Each book has a letter beside it, keyed to a 
descriptive card either hanging from the front of the case 
or mounted on the wall. Books are in most instances 
identified by title, artist, publisher, country and date or 
period. Large panels also introduce each section along 
with biographical details for featured artists and 

Early Books 

The oldest on display are volvelles, revolving dial 
books used by 16* Century astronomers and scientists. 
One dates from 1 528 Venice, another from 1 584 Antwerp. 
These particular little moving assemblages of yellowing 
parchment entered the world at the time of Michelangelo, 

Shakespeare, Henry VIII and Elizabeth I. They were the 
palm pilots of their day, and perhaps passed through the 
hands of Galileo. 

There are several examples of mid- IS* Century to early 
1 9 th Century Harlequinades, also called "metamorphoses" or 
"turn-up" books. There are also Toilette books, mostly 
teaching devices containing small pictures with flaps that lift 
to reveal something of meaning underneath. A lady's toiletry 
cabinet, a properly-set dining table and so on, apparently 
intended to instruct children of the upper classes, or socially- 
aspiring adults, in the rules of proper etiquette. Are these the 
first movable books designed for kids? If so, they couldn't 
have been much fun. But as sociological examples of their 
times, they are fascinating. The fun part seems to have taken 
another few years to evolve. 


These feel like the opposite of pop-ups. Pop-ups spring 
out at you and invite you to look at them from all angles. 
Peepshows turn inward, forcing you to observe from a single 
restricted viewpoint. Yet, paradoxically, they draw you into 
a grand illusion, a miniature world that seems to expand as 
far as the eye can see. It looks like forever but is usually no 
more than one or two feet. Clever stuff. And so deceptively 
simple. The examples here include a view of the Great 
Exhibition at London 's Crystal Palace in 1851, an opera 
scene, and a procession of the 1977 Silver Jubilee of 
Elizabeth 11. 

Dean & Sons 

This section 
deals with the 
London publisher 
who developed 
and produced the 
first true pop-up 
books, and more 
changing picture 
books, in about 
1850. These are 
also probably the first movable books to be made specifically 
for the amusement of children. And they actually tell stories 
rather than just depicting isolated scenes. The stories are 
simple, mostly involving small children and small cuddly 
animals in assorted small misadventures. Short verses 
accompany each spread, but the images are clear enough to 
carry things without much need for words. One of the best 
on display is Tale of an Old Sugar Tub, the story of a boy, a 
girl and a dog (naturally). The boy and girl get trapped in a 
barrel, which falls into a river and floats away with them 
inside. The faithful hound dives in, they grab its tail and are 
pulled to safety. The spreads are very dimensional, the barrel 
has round sides and a solid-looking bottom, and although 

Tale of an Old Sugar Tub 


you can't see the movement, it looks as though their arms 
and the dog's tail articulate in some way. Update the 
clothes and it could be published today without 
embarrassment. Why doesn't someone do that? Or at least 
bring out a reproduction of this one? 


These are spectacular, unfolding to a width of, perhaps, 
six feet, and about a foot high, with richly colored, fine- 
detailed illustrations. All from the late 1 800s, they include 
Grande Chasse made in Paris, containing rather warlike 
scenes, mostly showing grandly uniformed people on 
horseback pursuing an assortment of less fortunate 
creatures. There's another one, from Germany, called 
Buffalo Bill's Wilder Westen. It contains scenes of Bill 
himself galloping across the plains chasing bison, Indians, 
and whatever else is moving. And the illusion of 
movement in these totally static pieces is extraordinary. 
They really appear to leap out at the viewer. Also being so 
wide, the effect is a little like a freeze-frame from one of 
the old Cinerama movies, but better. 

The "Panoramas" section includes a couple of other 
movable book forms that could hardly be called 
panoramic, but this is where I encountered them. First, 
there are several examples of "Moving Picture Books" 
from the late 19 th Century, two-piece constructions where 
a lined transparency is slid back and forth or up and down 
over a similarly lined illustration. According to the 
caption this results in a repeated impression of a simple 
movement, like flickering flames or a person's eyes 
opening and closing. It obviously can't be demonstrated 
and is poorly lighted, but you still see these in modern 
variations, so it doesn't need too much imagination. The 
most interesting point is that one of the items displayed 
has a cover designed by Henri de Toulouse Lautrec, 
showing an elegantly dressed lady, seated at a table, 
actually using one of these things. 

Next to this is a case of "Stand-up Books" in which the 
page opens to a right angle and the scene stands up like a 
stage set. These are mostly images of zoos, animals, 
children and so forth, 1880-ish. Beautifully printed and 
colored with intricate cut-out work. In the same display is 
a procession of animals arranged in a spiral which, if set 
up in a straight line, would stretch probably 1 feet or so. 
Wonderfully detailed die-cuts. I think it all folds down 
into perhaps a foot square. Some of these stand-up books 
are, I believe, Ernest Nister productions, which makes this 
section a kind of transition point from which the show 
examines a handful of important contributors to the 
development of pop-ups. 

Ernest Nister 

Was Ernest Nister the Walt Disney of movable books? 
Judging from the biographical notes here, I'd say they 

might have a few things in common. Like Disney, Nister 
took a hitherto low-profile art form and turned it into an 
entertainment for the masses. And, also like Disney, once 
established, he did none of the hands-on creative work 
himself. His genius was in bringing together, organizing and 
directing an army of talented people who he inspired or 
cajoled into giving him what he, and as it turned out the 
public, wanted. Nister's revolving picture books, dissolving 
picture books and stand-up books sold well for decades, right 
up to the beginning of World War I. This section features 
several fine examples. They mostly seem to have catered to 
the late Victorian fondness for images of adorable children, 
puppies and kittens, and, depending on the season, adorable 
bunnies, angels, elves and Santas. There is a single, I think 
hand painted, cardboard revolving picture, about two feet 
across, in the middle of the display. It's unidentified but I 
assume was some kind of production mock-up, or maybe a 
shop window display. 

There is also a display case of Nister Greeting Cards. 
These ancestors of modern-day "Pop-Shots"-type cards 
contain enough sugary sentiment to give you a severe 
toothache. But they are considerably more complex than 
their descendants. And you can't help admiring the skill of 
the artists and production people who designed and 
constructed such elaborate, multi-layered affairs using lace- 
like papers and embossed board separated by colored 
accordion pleats. With all the adorability, the cherubs, the 
roses and the frilly die-cuts, a lot of thought, effort and 
creativity went into these pieces, some of which must be 
among the most extraordinary message bearers ever sent. 

Lothar Meggendorfer 

Unlike Nister, 
Meggendorfer seems to 
personify the term "hands 
on." The impression from 
the descriptive panel is that 
he did just about everything 
himself. His wonderful 
mechanical action pieces 
show a great sense of 
humor which, judging by 
the twinkling little self 
portrait on the wall, was 
genuine. He looks like 
everyone's favorite 
grandfather. His work on 
display here is a 
representative cross 
section, from the lever-operated story books, through 
changing face books, to a Doll's House that's less a house 
than a series of miniature stage sets connected one behind 
the other, in which the same three children interact with 
what appear to be the servants — maid, cook, governess, 
music teacher, gardener. The parents are strangely absent. 

Comic Actors 


only appearing in a pair of distant portraits on the parlor 
wall. Maybe that's not Mom or Dad either. I wonder 
whose home life it's supposed to depict. The mechanical 
books show people in everyday situations but always with 
a little twist, like the pompous-looking chap in underwear, 
ironing his trousers from Comic Actors ( 1 890). The not so 
everyday situations include what looks like someone 
fishing for alligators. Meggendorfer manages to combine 
several small actions in one figure to achieve a lifelike, 
unfailingly humorous effect. The results look so simple 
and effortless, yet meticulous planning and craftsmanship 
were surely behind all his ideas. His all-around mastery 
included making the lithographic stones, one of which is 
displayed in a case alongside the illustration printed from 

Vojtech Kubasta 

According to the biographical panel, during his 
lifetime Kubasta never enjoyed the recognition he 
deserved. Today he'd probably be regarded as one of the 
Czech Republic's more significant cultural assets. At the 
height of the Cold War, it apparently required delicate 
political footwork by his London publisher to bring his 
books west, although they were still produced by Artia of 
Prague. Three types of book are shown here. The simplest, 
and the only one I was familiar with, is the series based on 
folk tales like Little Red Riding Hood, and Puss in Boots. 
Uncomplicated designs and mechanisms with strong 
graphics, inexpensively printed. Next is the "Tip & Top" 
series. These are bigger and more elaborate with some 
interesting effects, following the adventures of two 
mischievous boys in various parts of the world. Finally, a 
revelation, Kubasta's incredible "Panascopic Model 
Books" from the early 1960s. These are big, single set 
piece pop-up scenes combining rich colors and bold 
designs with elaborate construction and some ingenious 
mechanisms. Terrific. The ones displayed are Ricky the 
Rabbit, Voyage of Marco Polo, American Indian Camp, 
Moko and Koko In the Jungle, and my favorite, How 
Columbus Discovered America. This features an intricate 
model of the Santa Maria, with the Nina and the Pinta in 
the background. But it's the fully-rigged Santa Maria that 
makes the book, for me, one of the show's stars. What a 
talented man. No wonder, as the bio describes, Waldo 
Hunt was inspired by him. Nevertheless, Kubasta died in 
obscurity, having won no awards nor achieved any great 
fame and certainly no fortune during a lifetime of making 
people smile. 

1930s -1950s 

This section covers a thin time for pop-ups, although 
an improvement compared to the preceding years since 
World War I, which, the show tells us, spelled the end of 
the first golden age of pop-ups. Still, some interesting 
work seems to have been produced. The period starts with 
a milestone in 1930, when Blue Ribbon Books of New 

York coined the term "pop-up" to describe some of their 
products. I wonder what we'd all be calling them if Blue 
Ribbon hadn't thought of that. The company helped keep 
pop-up interest alive in the pre- and post- World War II 
periods. There are examples here of the "Mickey Mouse" 
and "Minnie Mouse" books of 1933, marking Disney's first 
venture into pop-ups. I believe these sold well even in the 
middle of the Depression. There are also some of the "Jolly 
Jump-Ups." Other Blue Ribbon books from the 1930s 
include The "Pop-up" Mother Goose, several more Disney 
productions, and a splendid (non-Disney) The "Pop-up" 
Pinocchio. Further along, next to a Rudolph the Red-Nosed 
Reindeer from 1939 and Hopalong Cassidy of the late 40s, 
sit three 1958 pop-ups from Japan. Although the type is in 
Japanese, they look very western. There's Cinderella, 
Transportation, and Trains. I wonder of any of the more 
traditional Japanese art has ever been given the pop-up 
treatment? All those beautiful woodcuts would seem to be a 
natural. Maybe something based on "One Hundred Views of 
Mount Fuji." It could be called 
"Ten Views of. . ." Regarding these 
three, they're quite dimensional 
and it would be interesting to see 
them working. Of course, it would 
ft be interesting to see every pop-up 
in the show working. 

How Columbus 
Discovered America 

Which brings us to the 
| demonstration part of the 
I exhibition, consisting of a video 
monitor running a 5-minute loop 
§ showing pop-ups being opened. 
jjgfgjr- 3 The examples include some of the 
Meggendorfers and Kubastas on 
display, David Carter/David 
Pelham's wonderful Ben's Box, 
Pinocchio, and several other great books. The reaction this 
video produces is interesting. Witnessing pop-ups in action 
generated the most lively responses in most of the visitors 
around me. Lots of "Wow!" and "How cool!" and "How does 
it do that?" Very encouraging. Some appeared surprised that 
what they had been looking at in the exhibition actually 
moved. But those few seconds of delighted wonder, when 
everything opens up, are what it's all about. Gets them every 
time, as it should, and as it does all of us. Probably, in this 
computer age, there are people who have never seen a pop- 
up book, let alone handled one. 

It doesn't matter. They came. Who came? A mixed 
bunch. Families with children, a couple of business types 
bearing cell phones but thankfully not using them, a large 
hairy gentleman in black leather biker gear who went 
through the entire show. Perhaps he'd heard about the 
Harley-Davidson pop-up. I wanted to see his reaction to this 
but felt that following him around would not be prudent. The 
ratio of children to adults was about 50/50, with a good 


number of teens and pre-teens, probably because the 
library's Children's Literature wing is on the same floor 
directly opposite the exhibitions gallery. 

Intergraph its. Inc. 

This section deals with pop-up advertising and 
promotional items produced by another of Waldo Hunt's 
organizations. The TransAmerica pop-up advertisement 
in Time magazine started it all, causing quite a sensation 
and generating a surge in that company's business. Also 
included are dimensional ads, point-of-sale displays and 
product inserts for Lee Jeans, Honeywell, Maxwell House 
and so on. Del Monte has a terrific western roundup scene 
with cowboys and a chuck wagon. The "Wrigley Zoo" is 
a series of interlocking collectibles featuring pop-up 
animals, with just one example here. My favorite is a 
remarkably detailed full-size typewriter for IBM that I'd 
swear is the same Selectric III on which I learned to type. 

Also here are a couple of cases that seem out of 
sequence, displaying a mix of pop-ups from the 1 960s and 
1970s. I particularly liked a series of five from France 
using the Tin-Tin comic book character. Very dynamic 
pops and good graphics. There's some more Disney, 
including the large 3-D cover models for 20,000 Leagues 
Under the Sea and Cinderella, and a couple of other items 
published in connection with motion picture releases, The 
Adventures of Doctor Dolittle and A Pop-up Chitty Chitty 
Bang Bang. 


This is the last and biggest section, covering the 1980s 
to the present. Seeing so many of the great pop-ups that 
have come out of this period all in one place, all opened to 
their best spreads, is a little mind-boggling. It's what I'd 
do with my own collection if I had the space, and if we 
didn't have several small children frequently running and 
crawling around the house. At this point the old urge to 
also jump about clicking my heels returned, but a security 
guard was hovering, probably nervous of any loony who'd 
spend so long looking at a bunch of kids' books. 

There are far too many works in this section to 
mention all but a fraction. Most will be familiar to anyone 
reading this. Particular favorites of mine include Greg 
Hildenbrandt's Book of Three-dimensional Dragons, 
Mathew Reinhart's seriously hilariously scary The Pop-up 
Book of Phobias and the Pop-up Book of Nightmares, 
Automobiles, made in Switzerland with some delicate cut- 
outs incorporating clear acetate, Brooklyn Pops-Up, The 
The California Pop-up, Flight, and the National 
Geographic series of nature books. Plus of course anything 
in the cases of "Tops of the Pops" and blockbusters, from 
some of pop-up's best and brightest: Universe, Evolution, 
The Facts of Life, The Human Body, Ron van der Meer's 
pack books, everything by Robert Sabuda, ditto David 

Carter and Kees Moerbeek, Jan Piehkowski's Haunted 
House and Robot (naturally), Elvis and The Royal Family. 
And so on and on. 

The Contemporary section has a particularly good idea in 
giving visitors a hands-on opportunity to learn more about 
pop-up construction. Two tables are set up with mounted 
pages from that excellent guide The Elements of Pop-up, 
along with larger versions on thick board. Perhaps this was 
also used in the "Leaping Off the Page" event. 

Across the rotunda, in the Children's Literature 
Department, glass-fronted cabinets on top of bookcases 
display pop-ups from the library's collection. I believe that 
this is where the "Leaping Off the Page" event took place. 
Downstairs, the library gift shop carried about three dozen 
modern pop-ups by an array of contemporary artists, most of 
which I'm sure any Movable Book Society member would 

I have two minor criticisms, which seem ungrateful after 
such a huge effort has been put out by so many people, but 
here goes: first, no catalog. Not even a simple printed crib 
sheet. It would be nice to have something as a memento. 
Second, the exhibition lighting is variable. The peepshows 
are self contained with their own light source, so they are 
fine. The tall bookcase-type display cabinets had built-in 
lights that were mostly okay but left some shadows in the 
wrong places. The table height display cases in the middle 
of each area relied on ambient lighting, primarily coming 
from the ceiling chandeliers, which are beautiful in a 
beautifully restored room, but aren't much help when you're 
trying to see what's going on in one of Kubasta's 

None of this really matters: 
what does matter is that 
someone had the knowledge, 
resolve and energy to put on a 
terrific show. And someone 
found the money to pay for it. I 
think "Pop-Up!" and "Leaping 
Off the Page" between them 
succeed on several levels. They 
convey the pure, simple fun of 
moveable books — the "wow!" 
reaction that pop-ups 
invariably get, sometimes from 
the most unlikely people. And 
if one point of an exhibition is 
to spread the word and make 
converts, then, judging by what 
I heard and saw, they 
succeeded there, too. Finally, if yet another purpose is to 
give pleasure and affirmation to the converted, speaking 

Printed sheet for 
Haunted House 


only for myself, both shows worked wonderfully. Everyone 
involved with the conception, creation and production of 
these exhibitions deserves great credit and sincere thanks 
from pop-up people everywhere, even those who weren't 
fortunate enough to be there. Because more people now 
know about pop-ups and more people have bought them. 
So more will be produced. And that's good for us all. 

I look forward to my next visit, this time with the six- 
year old member of our family, who has been handling 
pop-ups with care since before he could walk, and who 
instinctively understands more about them than I ever 

The photographs used in this article were supplied by 
Frankie Herndon. 

Pop-ups in the News 

"Pop Goes the Book." By Elizabeth Bukowski. Wall Street 
Journal. October 25, 2002. [Story about the Los Angeles 
Public Library exhibition.] 

The Guiness Book of World Records has officially 
established Aesop 's Fables as the world's largest pop-up 
book. Created by Roger Culbertson, this book, with pages 
2I/2 feet by 4 feet, was displayed at the Cornell Museum of 
Art & History in Defray Beach, Florida. The museum is 
planning a promotional campaign to display the book and 
after that it will be for sale. [For more information about 
the book see Movable Stationery, Volume 10, #1, 
February, 2002.] 

New Publications 

The following titles have been identified from pre- = 

publication publicity, publisher's catalogs, or advertising. u [ 
All titles include pop-ups unless otherwise identified. 


Alice 's Pop-up Theater Book. By Nick Dench field and 2 
Alex Vining. Macmillan Children's Books (UK). 




Disney's Pop-Up Princesses. Disney Press. $12.99. 

Dreamland. Book Company 
Intl. $15.95. 
1-74047-21 1-x. 

Fly Away Home. Book 
Company Intl. $15.95. 

Gilbert 's Birthday Surprise 
Mini Pop-up Book. Book 
Company Intl. $7.95 1-74047-243-8 

Magic Planet. Book Company Intl. $15.95. 

Mouse 's Christmas Eve: With Pop-up Mouse. Innovative 
Kids. $14.99. 1-58476-125-3. 

Playful Planet. Book Company Intl. $15.95. 

Catalogs Received 

Aleph-Bet Books. Catalogue 70. 85 Old Mill River Rd. 
Pound Ridge, NY 10576. Phone: 914-764-7410. Fax: 
914-764-1356. Email: 

Jo Ann Reisler, Ltd. Catalogues 58 and 59. 360 
Glyndon St., NE, Vienna VA. Phone:703-938-2967. 
Fax: 703-938-9057. Email: 

Sharon and Steve Robinson. "1930s Blue Ribbon Pop- 
up Books." 

Stella Books. Pop-up List. 

Pop-up Minibeast Adventure. By Nick Denchfield and 
Anne Sharp. Macmillan Children's Books (UK) 14.99. 

Speed Machines. 
Book Company Intl. 

Sunny Days. Book 
Company Intl. 

Water World. Book Company Intl. $15.95. 

Book Company Intl. titles are available online from: